Podcasts about Royal Ontario Museum

This week on Uncolonized, Daniel and Gavin tear into the Royal Ontario Museum, where one of the board's chairpersons is connected to a company making money off deportations from the U.S. Spoiler: colonial institutions don't really change — they just rebrand. We also get into Martin Heidegger's idea of enframing, and how museums, despite all their shiny updates, are still running on the same colonial operating system.On our Patreon bonus episode patreon.com/theuncolonzed, we break down how the Peterborough mayor thought it was a good idea to use the N-word at a college event — and how boomers are still fumbling around the internet like it's a damn Rubik's Cube.If you want critical, unapologetic takes on colonialism, racism, and the slow-moving trainwreck of old power structures trying to survive the internet age — hit play.Want the real unfiltered shit? Subscribe to our Patreon for bonus episodes that pull no punches: patreon.com/theuncolonzed" Hosted on Acast. See acast.com/privacy for more information.

What if the secret to better museums was … neuroscience? How can museums inspire human creativity? How much media should be in a gallery — or should there be any? How soon should you get feedback on your exhibition ideas? Can museums help us all “escape the algorithm”? What does knitting have to do with visitor satisfaction? In this episode, we'll learn some unexpected tricks of the trade from a renowned museum leader. Lynda Roscoe Hartigan (The Rose-Marie and Eijk van Otterloo Executive Director and CEO of the Peabody Essex Museum) discusses “Creating Effective Museum Experiences” with host Jonathan Alger (Managing Partner, C&G Partners | The Exhibition and Experience Design Studio). Along the way: standup comedy, Iris Apfel, and moon chairs.  Talking Points: 1. Embrace Human Creativity2. Design is Critical — Use Media Wisely3. Knit Experiences4. Escape the Algorithm5. Know Your Audience — Get Feedback Early6. Consider the NeuroscienceHow to Listen: Listen on Apple Podcasts: https://podcasts.apple.com/us/podcast/making-the-museum/id1674901311 Listen on Spotify: https://open.spotify.com/show/6oP4QJR7yxv7Rs7VqIpI1G Listen at Making the Museum, the Website: https://www.makingthemuseum.com/podcast Links to Every Podcast Service, via Transistor: https://makingthemuseum.transistor.fm/ Guest Bio: Lynda Roscoe Hartigan is The Rose-Marie and Eijk van Otterloo Executive Director and CEO of the Peabody Essex Museum. As a curator, scholar and museum executive, Lynda Roscoe Hartigan brings a wealth of knowledge and experience to PEM. During her time as Chief Curator at the Smithsonian American Art Museum, she led an internationally recognized acquisition initiative to build collections of works by Black, self-taught and modern and contemporary artists. In 2003, Lynda was appointed as PEM's first Chief Curator and in 2016 became Deputy Director. Overseeing the interpretation and installation of PEM's new wing, she was integral to developing and advancing the museum's innovative exhibition program, collection stewardship, fundraising, education, publishing, digital and global leadership initiatives. Most recently, she was Deputy Director for Collections and Research and Chief Innovation Officer at the Royal Ontario Museum, Canada's largest museum dedicated to art, culture and the sciences. Lynda has returned to PEM to become the museum's first woman director and to boldly lead the nation's oldest continually operating and ever-evolving museum forward.About Making the Museum: Making the Museum is hosted (podcast) and written (newsletter) by Jonathan Alger. MtM is a project of C&G Partners | The Exhibition and Experience Design Studio. Learn more about the creative work of C&G Partners:https://www.cgpartnersllc.com/ Links for This Episode: Lynda's Email:lynda_hartigan@pem.org Lynda on LinkedIn:https://www.linkedin.com/in/lynda-hartigan-762b475/ Lynda's Thesis:"Grandma Moses and the Implications of Memory,' in Grandma Moses in the 21st Century, Jane Kallir, ed., Art Services International, Alexandria, VA, 2001, pp. 64-79.https://www.amazon.com/Grandma-Moses-Century-Jane-Kallir/dp/0300089279Calder exhibition: https://www.pem.org/exhibitions/calder-and-abstraction-from-avant-garde-to-iconic Ansel Adams exhibition: https://www.pem.org/exhibitions/ansel-adams-at-the-waters-edge Escape the Algorithm, PEM's latest ad campaign:https://www.pem.org/blog/turning-heads-pems-chief-marketing-officer-gives-the-scoop-on-the-museums-new-brand-campaign Neuroscience initiative: https://www.pem.org/about-pem/pem-initiatives/neuroscience-initiative Art Pharmacy from Mass Cultural Council:https://www.artpharmacy.co/ FutureMuseum (PEM will be hosting museum leaders for this event on May 28 and 29, 2025):https://www.museumbooster.com/future-museum Links for Making the Museum, the Podcast: Contact Making the Museum:https://www.makingthemuseum.com/contact Host Jonathan Alger, Managing Partner of C&G Partners, on LinkedIn:https://www.linkedin.com/in/jonathanalger Email Jonathan Alger:alger@cgpartnersllc.com C&G Partners | The Exhibition and Experience Design Studio:https://www.cgpartnersllc.com/ Making the Museum, the Newsletter: Like the show? You might enjoy the newsletter. Making the Museum is also a free weekly professional development email for exhibition practitioners, museum leaders, and visitor experience professionals. (And newsletter subscribers are the first to hear about new episodes of this podcast.) Join hundreds of your peers with a one-minute read, three times a week. Invest in your career with a diverse, regular feed of planning and design insights, practical tips, and tested strategies — including thought-provoking approaches to technology, experience design, audience, budgeting, content, and project management. Subscribe to the newsletter:https://www.makingthemuseum.com/

Bits of Bennu have building blocks of lifeNASA's OSIRIS-REx mission took six years to travel to the asteroid Bennu and return samples to Earth. Now, the first results from the analysis of these rocks are being released. Researchers found evidence of salty water, as well as the elements necessary for life, such as amino acids and the building blocks for RNA and DNA. We spoke with Kim Tait, senior curator of mineralogy at the Royal Ontario Museum in Toronto, and co-author of one of the recent studies, published in the journal Nature.Unlocking the secret of Polar bear de-icingPolar bears spend so much time going in and out of the water that they are considered marine mammals. So when they do this in the frozen Arctic, why are they not covered in ice? A new study reveals the secret turns out to lie in the unique oils they produce that covers their white fur. Julian Carolan, a PhD candidate at Trinity College Dublin, worked with scientists in Norway, Denmark and the U.K. on this paper published in the journal Science Advances.Truffle-hunting dog finds fabulous new fungusA chance discovery has turned out to reveal a new species of North American truffle. These fungi can be desirable and valuable delicacies. An American truffle hunter, Lois Martin, and her  trained dog Monza found a distinctive truffle in a city park that turned out to be a fungus new to science. Although native to North America, it was more similar to European truffles than any found in the Americas. Dr. Greg Bonito at Michigan State University named this new truffle Tuber canirevelatum,  meaning the ‘dog-found' truffle in honour of Monza and other dogs who look for truffles. The work was published in the journal Mycologia.  Voiding your bowels can improve cognitive performanceTo maximize your cognitive function, it might be a good idea to make sure you have a poo first. That's according to a recent study in the journal Sports Medicine and Health Science. In it, scientists found that 9 out of 13 individuals improved how well they did in a mentally taxing cognitive test if they defecated first, whereas all 13 of them improved in their performance when they took a mild laxative the night before. Chia-Hua Kuo, a professor of sports medicine and nutrition at the University of Taipei, said they also saw an increase in oxygen consumption in the test subjects' subnavel regions as they were doing the test, suggesting a previously unsuspected link between the rectum and the brain. Saving species on Earth, preserving them on the moonThe world is in a biodiversity crisis. We're losing species at an unprecedented rate, thanks to climate change, habitat loss, overexploitation and more. We look at some of the more out-of-the-box solutions that are currently in the works – from creating an internet of animals to monitor biodiversity, to saving samples of Earth's biological resources on the moon.We spoke with:Martin Wikelski, the director of the Max Planck Institute of Animal Behavior, honorary professor of ornithology at the University of Konstanz, and the scientific head of the ICARUS project.Mary Hagedorn, a senior research scientist at the Smithsonian Conservation Biology Institute and senior author of a recent paper published in the journal Bioscience proposing a passive biorepository on the moon.

The Empire Club of Canada is thrilled to announce Prem Watsa, Founder, Chairman and CEO of Fairfax Financial Holdings, as the recipient of the 2024 Nation Builder Award. This prestigious honour will be presented to Mr. Watsa at a special ceremony on January 28, 2025, at the iconic Fairmont Royal York in downtown Toronto.     Prem Watsa's story is both inspiring and impressive – embodying resilience, ingenuity, and an unwavering commitment to excellence and integrity in business. As a newcomer to Canada, he supported himself through an MBA program at Western University and began his career as an investment analyst. Mr. Watsa went on to found Fairfax Financial Holdings, today a leading Canadian company in the global insurance sector with a market capitalization of more than $40 billion. His commitment to philanthropy has been longstanding, with a focus on education and healthcare initiatives and on investments that uplift communities across the country. He has brought his passion and expertise to support a wide range of organizations including SickKids Hospital, the University of Waterloo, Huron University, the Royal Ontario Museum and St. Paul's Anglican Church. Prem Watsa: A Nation Builder *The content presented is free of charge but please note that the Empire Club of Canada retains copyright. Neither the speeches themselves nor any part of their content may be used for any purpose other than personal interest or research without the explicit permission of the Empire Club of Canada.* *Views and Opinions Expressed Disclaimer: The views and opinions expressed by the speakers or panelists are those of the speakers or panelists and do not necessarily reflect or represent the official views and opinions, policy or position held by The Empire Club of Canada.*

'Auschwitz: Not So Long Ago. Not So Far Away' opened Jan. 10 in Toronto at the Royal Ontario Museum, marking the only Canadian stop for the eight-year-old travelling show. The exhibit originally launched in Spain in 2017, and the Toronto version is a smaller edition due to space restrictions: showcasing some 500 artifacts and photos from the actual site of Auschwitz, the modern world's most notorious genocide factory. But while the Canadian debut may seem belated, the timing is perfect: it arrives just a couple of weeks ahead of the 80th anniversary of the liberation of Auschwitz-Birkenau on Jan. 27. It's also a significant time for the Canadian Jewish community, which is facing an unprecedented spike in antisemitism, including Holocaust denial and distortion, wherein Israelis are being called modern Nazis for their military response in Gaza after Oct. 7. Were these issues on the minds of the curators? How has the exhibit adapted to update post-Oct. 7? The CJN Daily‘s host, Ellin Bessner, went to see for herself. On a private media tour on the day before the exhibit opened to the public, Bessner walked through the museum wondering about the relevance of showcasing the eerie similarities between this past year and the months leading up to the Holocaust. As she discovered, the organizers aren't moralizing or preaching, but rather letting their rigorously researched historical evidence and facts speak for themselves. On the episode, you'll hear from Toronto Holocaust historian professor Robert Jan van Pelt, whose mother survived Auschwitz; and from British curator Paul Salmons, plus Luis Ferreiro, director of the private Spanish company MUSEALIA, which owns the touring exhibit. Joshua Basseches, the CEO of the ROM, also joins. What we talked about: Learn more about the ROM exhibit Auschwitz: Not So Long Ago. Not So Far Away and how to buy tickets. School groups get free admission. Learn more about the exhibit's chief Auschwitz historian, Toronto professor Robert Jan van Pelt, in The CJN archives Read about the ROM's exhibit 2017 called “The Evidence Room” which professor van Pelt also curated, in The CJN archives. Credits Host and writer: Ellin Bessner (@ebessner) Production team: Zachary Kauffman (producer), Michael Fraiman (executive producer) Music: Dov Beck-Levine Support our show Subscribe to The CJN newsletter Donate to The CJN (+ get a charitable tax receipt) Subscribe to The CJN Daily (Not sure how? Click here)

Ava discusses her recent visit to the Royal Ontario Museum, being called a 'person', the recent healthcare CEO shooter, the Great American Exceptionalism Bubble, the happiness index and the freedom index, dogs as compassion slaves and the philosophical question: "to be happy, or to be free?"

TNO's Designated Canadian, Genna Buck, joins Mike live on stage IN CANADA (Toronto, specifically) to break down Ch. 3 of HoO Book 2! Topics include: Black Toonies, second Ts, Greek food, The Canadian House Hippo, Elf on a Shelf, The Royal Ontario Museum, Chekhov's jelly beans, zed, Hera's folder management, polygraphs, cheesy dog bite, tuna enchiladas, The School of Chiron's Plot Protection, tattoos, Wii Sports Resort, The New York Yankees, Halloween costumes, The UP Express, softball, Canadian treats, and more! Follow TNO on Bluesky: www.bsky.app/profile/newestolympian.bsky.social Watch the video version of this ep: www.thenewestolmypian.com/patreon TNO Tour: www.thenewestolympian.com/live — Find The Newest Olympian Online —  • Website: www.thenewestolympian.com • Patreon: www.thenewestolympian.com/patreon • Instagram: www.instagram.com/newestolympian • Bluesky: bsky.app/profile/newestolympian.bsky.social • Facebook: www.facebook.com/newestolympian • Reddit: www.reddit.com/r/thenewestolympian • Twitter: www.twitter.com/newestolympian • Merch: www.thenewestolympian.com/merch — Production —  • Creator, Host, Producer, Social Media, Web Design: Mike Schubert • Editor: Sherry Guo • Music: Bettina Campomanes and Brandon Grugle • Art: Jessica E. Boyd — About The Show —  Has the Percy Jackson series been slept on by society? Join Mike Schubert as he journeys through the Riordanverse for the first time with the help of longtime PJO fans to cover the plot, take stabs at what happens next, and nerd out over the Greek mythology throughout. Whether you're looking for an excuse to finally read these books, or want to re-read an old favorite with a digital book club, grab your blue chocolate chip cookies and listen along. New episodes release on Mondays wherever you get your podcasts! Learn more about your ad choices. Visit podcastchoices.com/adchoices

After a long hiatus, Haunted Talks returns, diving deeper than ever into the mysterious and unexplained! In this special episode, we unveil exciting new adventures—from spine-tingling nights at the Royal Ontario Museum to eerie ghost tours aboard a haunted ship. But that's just the beginning. We also explore a mystery that has left historians puzzled for centuries: a groundbreaking discovery about the origins of Stonehenge's altar stone. Could this massive six-tonne slab have travelled nearly 500 miles from Scotland? How did ancient people achieve such a feat—and why?                               

September 1 2024-Tips For This Wasp Season & The "Grandma Babysitting Club" They seem to be everywhere this summer…unwanted guests at our backyard bbq's, outdoor family gatherings forcing many of us indoors. Why so many wasps now, is there anything you can do to keep them away, and what should you do if you get stung? We posed these questions and more to Royal Ontario Museum's entomology expert Antonia Guidotti. And An Ontario grandmother has come up with a novel approach to help families find temporary childcare. Since launching the ‘Grandma Babysitting Club' earlier this year, founder Maria Martin has recruited six other Grandmas to the club offering in-home child care, with the goal of expanding the program. It has the added bonus of keeping the retirees young. We reached Maria Martin at her home in Kitchener.

In this episode you'll hear about some wonderful free Zoom Fossil Talks coming up in March and May 2024. There is no need to register. You can head on over to www.fossiltalksandfieldtrips.com note the talk dates and times. The link will be shared live on the site on the day of the talk. Upcoming Free Zoom Lectures: Sun, March 24, 2024, 2PM PST — Dan Bowen — Struck by Lightning: The Mary Anning Story ​Learn about the history of Mary Anning from Dan Bowen, Chair of the Vancouver Island Palaeontological Society (VIPS) and British Columbia Palaeontological Alliance (BCPA). Mary Anning was an English fossil collector, dealer, and palaeontologist who became known worldwide for the discoveries she made in Jurassic marine fossil beds in the cliffs along the English Channel at Lyme Regis in the county of Dorset in Southwest England. Sat, May 4, 2024, 1PM PST — Jean-Bernard Caron, Lower Cambrian Cranbrook Lagerstätte in the East Kootenay region of south-eastern British Columbia, Canada Jean-Bernard Caron is a French and Canadian palaeontologist and curator of invertebrate palaeontology at the Royal Ontario Museum in Toronto, Ontario, Canada.He will share his insights on the weird and wonderful marine fossil fauna from the many outcrops of the Lower Cambrian Eager Formation near the town of Cranbrook. His team did some extensive field work—particularly at the Silhouette Range locality—a few summers ago and we are keen to hear the results of their efforts. The fossils we find in the Eager Formation are slightly older than those found at the Burgess Shale Lagerstätte. Burgess is Middle Cambrian and the species match the Eager fauna one for one but the Eager fauna are much less varied.  The specimens we find are wonderfully preserved and beautifully displayed in the Cranbrook History Centre. Sound the horns, beat the drums and stomp your feet—it's official! The Puntledge Elasmosaur is now British Columbia's Provincial Fossil. Mike Trask found the first elasmosaur in 1988 while exploring the Puntledge River with his daughter.  He found the first terrestrial dinosaur remains from Vancouver Island and coined the term "sabre-toothed salmon" of legendary fame.It was Mike's twin brother Pat Trask, who led the excavation of the juvenile elasmosaur from the Trent River back in August 2020. He was joined by many talented souls from the Vancouver Island Palaeontological Society and Courtenay Museum.   Visit www.fossiltalksandfieldtrips.com for Free VIPS Paleo Talks & ARCHEA at www.fossilhuntress.blogspot.com or www.fossilhuntress.com for more yummy goodness!

In the two years since the Russian invasion, there's largely been a consensus in Canada about supporting Ukraine. Debates in Parliament and the media focus almost entirely on how to best help Ukraine, and not whether we should be helping in the first place. William Thorsell thinks that's a shame. He also thinks it's time for the West to withdraw from the war and concede defeat. William Thorsell is the former Editor-in-Chief of The Globe and Mail and CEO of the Royal Ontario Museum. He's currently a distinguished fellow at the Munk School.

Blue whales are genetically healthy but are breeding with fin whales, study suggests (1:03) Researchers have sequenced the genome of a blue whale that washed up in Newfoundland in 2014, and used it to do a comparative study of North Atlantic blue whales. A team led by Mark Engstrom, curator emeritus at the Royal Ontario Museum found that despite their small population, the whales are genetically diverse and connected across the north Atlantic, but that on average blue whales from this group are, genetically, about 3.5 per cent fin whale. The work was published in the journal Conservation Genetics. Sea otters' ravenous appetite for crabs is reshaping a California coastal marshland (10:10) The return of sea otters to salt-marshes on the California coast has halted the erosion of the marshes that occurred in their absence. Without otters, crabs quickly overpopulated and made the area look like “Swiss cheese” by burrowing into the marsh sediments and eating the vegetation's root system. Brent Hughes from Sonoma State University said their study demonstrates the importance of predators in maintaining the integrity of these vulnerable salt-marshes to boost climate change resiliency along the coast. What will become of our solar system as our sun evolves into a white dwarf star? (19:03) Over many billions of years our sun, and stars of similar size, will first swell into a red giant star, and then contract into a small, dense white dwarf star. A new study using the James Webb Space Telescope has surveyed nearby white dwarf star systems to understand the fate of their planets, and astronomer Susan Mullally says this can help predict our planet's fate as well. Permafrost has shaped Arctic rivers — and as it melts much will change (27:23) A satellite survey of the frozen north has demonstrated how much permafrost has shaped the landscape, by limiting the number of rivers that can carve into the frozen land. Geoscientist Joanmarie Del Vecchio warns that as permafrost melts, the waters will find many more paths, and this could unleash carbon equal to the annual emissions of 35 million cars for every degree of warming. The research was published in the journal PNAS. Understanding the evolution of what came first, the chicken or the egg (35:44) While the marine ancestors of all terrestrial vertebrates laid eggs in the water, scientists long thought that the first terrestrial animals must have been laying eggs to conquer life on land. In an attempt to untangle this mystery, scientists compared extinct and living animals to trace how far back in their evolution the first egg-layers appeared. Michael Benton, from the University of Bristol, said their study didn't discern if the first land animals were laying soft-shelled eggs or giving birth to live young, but hard-shelled eggs like modern bird eggs came much later. In the Australian Alps, egg-laying lizards from the valleys breed with live-birth bearing lizards from higher up in the mountain to create hybrids with traits across the whole spectrum in between. Katherine Elmer, from the University of Glasgow, described her study of this population that allowed them to identify the genetic differences between laying eggs and giving birth to live young.

In the first of three episodes on Accessible Fashion, Joeita speaks to  Izzy Camilleri, the founder of IZ Adaptive, a clothing brand that provides accessible fashions for people with disabilities. We discuss her foray into inclusive fashion and design at a time when no one was talking about it. She discusses how her desire to create clothes that are functional, as well as beautiful, changed the course of her life while conferring dignity to people with disabilities.Highlights:Opening Clip – Izzy on Adaptive Clothing (00:00)Opening Remarks – Accessible Fashion as Function (00:39)Accessible Fashion Series Overview (01:42)Introducing Izzy Camilleri & IZ Adaptive (03:32)A Life-Changing Phone Call (04:11)Initial Challenges Designing Clothes for a Wheelchair User (06:30)Designing for People Who Need Help Dressing and Those Who Dress Themselves Independently (08:19)Disability Inclusive Features of Adapted Clothing (09:58)Inspiration for Getting into Fashion Design (11:11)Reaction of Colleagues to Izzy's Shift into Adapted Clothing (11:46)The Business Side of Adaptive Clothing (13:58)Consulting with Large Labels on Accessible Design (14:58)Toronto as Accessible Fashion Hotbed (16:11)Creativity in Adaptive Clothing (17:01)Wardrobe Essentials (18:53)Feedback on IZ Adaptive (19:40)What's Next for IZ Adaptive? (21:44)Show Close (22:38)Guest Bio: Izzy Camilleri is one of Canada's leading and most celebrated fashion designers, and a pioneer in adaptive clothing. Izzy first ventured into the world of accessible clothing after initially doing custom work for a wheelchair user in 2004. It opened her eyes to the huge necessity for this type of clothing in the world.In 2022, Izzy received 2 awards for her adaptive line. She won the Innovation Award from the Women's Empowerment Awards and the Fashion Impact Award from the CAFA Awards. In 2006, she received CAFA's Womenswear Designer of the Year Award. Her adaptive line has been featured in the Royal Ontario Museum. For more than 39 years, she has designed custom clothing for an international clientele, crafted gorgeous collections featured in fashion magazines from Vogue to InStyle, and dressed celebrities like Daniel Radcliffe, Mark Wahlberg, Meryl Streep, Angelina Jolie and David Bowie. Since 2009, Izzy has focused on inclusive fashion through her brand IZ Adaptive, with the mission to make great looking and well-fitting clothes accessible to everyone. To learn more about Izzy, visit www.izzycamilleri.com.See more of Izzy Camilleri on AMI-tv's Fashion Dis!Each episode of Fashion Dis celebrates the head-to-toe overhaul of a frustrated style seeker discouraged by an industry that lacks adaptive options. The Story of IZ Adaptive IZ Adaptive was launched in 2009 after fashion designer Izzy Camilleri spent a few years creating custom clothing for a client who was a wheelchair user living with paralysis. This experience opened her eyes to the clothing challenges and limitations people face while living with a physical disability.After years of creating these first custom pieces, Izzy realized that if her client had all these obstacles around clothing, there must be many others with the same issues. Izzy decided to hold a focus group meeting where other voices were heard around  the challenges, likes and dislikes around everyday clothing while living with a physical disability. With listening and learning, the seeds of creating a line of adaptive clothing were being planted.  After doing online research of the market, she saw that there was very little out there designed specifically for this demographic of people.  Most of what was available was for the elderly or for people living in long term care facilities. Clothing that was very dated in both design and fabric choice. Seeing this huge void in the market, Izzy saw this as an opportunity to create a line of clothes for people living with a disability, starting with modern wardrobe basics.   In June of 2009 IZ Adaptive was born.Izzy Camilleri was hailed a trail blazer pioneering the category of adaptive clothing in the form of fashionable, functional pieces. Her new and innovative work was called revolutionary. The path since that time has been long and hard, but Izzy kept it on life support, knowing the importance of what she was creating and how many lives IZ Adaptive positively affected. At the beginning of the pandemic, Izzy also created the first ‘Seamless Back Pant' which helps to reduce the risk of life threatening pressure sores.  This patented technology is the most important work Izzy has done throughout her long career. These pants have become an important staple in many of IZ Adaptives customer's wardrobes.Today, Izzy is seen as the Thought Leader in this space. IZ Adaptive has a global reach with its online store. Major media outlets have featured IZ, and museums have also displayed this work. Universities and colleges reach out as well to learn about this new and exciting category of clothing for their studies.IZ Adaptive continues to push boundaries, lead in innovation and is looking to the future with plans of big growth.  About The PulseOn The Pulse, host Joeita Gupta brings us closer to issues impacting the disability community across Canada.Joeita Gupta has nurtured a life-long dream to work in radio! She's blind, moved to Toronto in 2004 and got her start in radio at CKLN, 88.1 FM in Toronto. A former co-host of AMI-audio's Live from Studio 5, Joeita also works full-time at a nonprofit in Toronto, specializing in housing/tenant rights.Find Joeita on X / Twitter: @JoeitaGupta The Pulse airs weekly on AMI-audio. For more information, visit https://www.ami.ca/ThePulse/ About AMIAMI is a not-for-profit media company that entertains, informs and empowers Canadians who are blind or partially sighted. Operating three broadcast services, AMI-tv and AMI-audio in English and AMI-télé in French, AMI's vision is to establish and support a voice for Canadians with disabilities, representing their interests, concerns and values through inclusion, representation, accessible media, reflection, representation and portrayal. Learn more at AMI.caConnect on Twitter @AccessibleMediaOn Instagram @accessiblemediaincOn Facebook at @AccessibleMediaIncOn TikTok @accessiblemediaincEmail feedback@ami.ca

In 1936, long before the discovery of the Viking settlement at L'Anse aux Meadows, the Royal Ontario Museum made a sensational acquisition: the contents of a Viking grave that prospector Eddy Dodd said he had found on his mining claim east of Lake Nipigon. The relics remained on display for two decades, challenging understandings of when and where Europeans first reached the Americas. In 1956 the discovery was exposed as an unquestionable hoax, tarnishing the reputation of the museum director, Charles Trick Currelly, who had acquired the relics and insisted on their authenticity. In Beardmore: The Viking Hoax That Rewrote History (McGill-Queen's University Press, 2018), Dr. Douglas Hunter reconstructs the notorious hoax and its many players. Beardmore unfolds like a detective story as the author sifts through the voluminous evidence and follows the efforts of two unlikely debunkers, high-school teacher Teddy Elliott and government geologist T.L. Tanton, who find themselves up against Currelly and his scholarly allies. Along the way, the controversy draws in a who's who of international figures in archaeology, Scandinavian studies, and the museum world, including anthropologist Edmund Carpenter, whose mid-1950s crusade against the find's authenticity finally convinced scholars and curators that the grave was a fraud. Shedding light on museum practices and the state of the historical and archaeological professions in the mid-twentieth century, Beardmore offers an unparalleled view inside a major museum scandal to show how power can be exercised across professional networks and hamper efforts to arrive at the truth. Ryan Tripp (Ph.D., History) is currently an adjunct in History at Los Medanos Community College and Southern New Hampshire University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In 1936, long before the discovery of the Viking settlement at L'Anse aux Meadows, the Royal Ontario Museum made a sensational acquisition: the contents of a Viking grave that prospector Eddy Dodd said he had found on his mining claim east of Lake Nipigon. The relics remained on display for two decades, challenging understandings of when and where Europeans first reached the Americas. In 1956 the discovery was exposed as an unquestionable hoax, tarnishing the reputation of the museum director, Charles Trick Currelly, who had acquired the relics and insisted on their authenticity. In Beardmore: The Viking Hoax That Rewrote History (McGill-Queen's University Press, 2018), Dr. Douglas Hunter reconstructs the notorious hoax and its many players. Beardmore unfolds like a detective story as the author sifts through the voluminous evidence and follows the efforts of two unlikely debunkers, high-school teacher Teddy Elliott and government geologist T.L. Tanton, who find themselves up against Currelly and his scholarly allies. Along the way, the controversy draws in a who's who of international figures in archaeology, Scandinavian studies, and the museum world, including anthropologist Edmund Carpenter, whose mid-1950s crusade against the find's authenticity finally convinced scholars and curators that the grave was a fraud. Shedding light on museum practices and the state of the historical and archaeological professions in the mid-twentieth century, Beardmore offers an unparalleled view inside a major museum scandal to show how power can be exercised across professional networks and hamper efforts to arrive at the truth. Ryan Tripp (Ph.D., History) is currently an adjunct in History at Los Medanos Community College and Southern New Hampshire University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

In 1936, long before the discovery of the Viking settlement at L'Anse aux Meadows, the Royal Ontario Museum made a sensational acquisition: the contents of a Viking grave that prospector Eddy Dodd said he had found on his mining claim east of Lake Nipigon. The relics remained on display for two decades, challenging understandings of when and where Europeans first reached the Americas. In 1956 the discovery was exposed as an unquestionable hoax, tarnishing the reputation of the museum director, Charles Trick Currelly, who had acquired the relics and insisted on their authenticity. In Beardmore: The Viking Hoax That Rewrote History (McGill-Queen's University Press, 2018), Dr. Douglas Hunter reconstructs the notorious hoax and its many players. Beardmore unfolds like a detective story as the author sifts through the voluminous evidence and follows the efforts of two unlikely debunkers, high-school teacher Teddy Elliott and government geologist T.L. Tanton, who find themselves up against Currelly and his scholarly allies. Along the way, the controversy draws in a who's who of international figures in archaeology, Scandinavian studies, and the museum world, including anthropologist Edmund Carpenter, whose mid-1950s crusade against the find's authenticity finally convinced scholars and curators that the grave was a fraud. Shedding light on museum practices and the state of the historical and archaeological professions in the mid-twentieth century, Beardmore offers an unparalleled view inside a major museum scandal to show how power can be exercised across professional networks and hamper efforts to arrive at the truth. Ryan Tripp (Ph.D., History) is currently an adjunct in History at Los Medanos Community College and Southern New Hampshire University. Learn more about your ad choices. Visit megaphone.fm/adchoices

Robert Macfarlane says his writing is about the relationship between the landscape and the human heart. He's a modern-day re-interpreter of the sublime — whether he's writing about following ancient foot trails or descending into the mysterious world beneath the Earth's surface. He spoke at a special event at the Royal Ontario Museum, where he accepted the inaugural Weston International Award, presented by the Writers' Trust of Canada to recognize excellence in nonfiction.

Our second episode quite literally puts the lens on climate as we spotlight the 24th annual Planet in Focus International Environmental Film Festival (PIF), running from October 12th-22nd at Toronto's Paradise Theatre.  PIF executive director Katherine Bruce speaks with us about the continued and growing importance of Canada's largest and longest running environmental film festival and this year's program of shorts, speakers and feature-length films.  Filmmaker Deirdre Leowinata discusses her film Keepers of the Land and its themes of reclamation and reconciliation.  We are also joined by Liz Marshall and Alfonso Salinas on the premiere of their powerful feature-length film, s-yéwyáw: Awaken.  Speaking about this year's Planet in Focus Film Festival, Bruce says: “This year's program represents something that's broadened our definition of environment enormously over the last probably eight years, to include social justice, climate justice is racial justice … We really decided this year to create a tighter program with as many panels and speakers, filmmakers present as possible … People long for connection when they've seen these films that we present. They come away with questions. They come away with concerns. They come away with a desire to be involved, to be engaged with the issues … And that's what I think is so beneficial about always offering an audience an avenue, but also a space – a space to gather.”  On her festival short, Keepers of the Land, Leowinata says: “I hope that it'll get people really excited about what's happening in Canada. Because this is just one Indigenous community in Canada, and there are so many other communities who are doing work like the Kitasoo Xai'xais Nation, and who are really moving the needle in terms of Indigenous-led Conservation, and that's what our film is about. ” Reflecting on S-YéwYáw AWAKEN, Salinas says: “We've gone on this journey where we've learned so much about each other and what happened on the film, on and off the film, it was a lot of healing. And now we get to share that story with the world, which I think is the most important thing. ” The 24th annual Planet in Focus International Film Festival, running until October 22nd in Toronto at the Paradise Theatre (1006 Bloor St West). Check out s-yéwyáw: Awaken for future viewing dates and locations. About today's guests:  A part of the Planet in Focus team from 2010-2012, executive director Katherine Bruce was delighted to return to the festival in 2016. She has worked extensively in the arts sector as a producer in film, theatre and visual arts including the UK-based Cape Farewell – The cultural response to climate change as Development Director for Carbon 14: Climate is Culture in partnership with ROM Contemporary Culture. She also serves on the steering committee of CREW Toronto (Community Resilience to Extreme Weather), the advisory committee for Youth Unstoppable and on the board of the international Green Film Network. Deirdre Leowinata was born in Jakarta, Indonesia to an Irish father and a Chinese-Indonesian mother. After spending much of her childhood in an international community in Dhaka, Bangladesh, she moved to Ottawa where she did her bachelor of science in evolution, ecology, and behaviour, focusing on the impacts of climate change on butterfly ecology and physiology. Compelled by a growing need for science communication, she moved to Toronto in 2013 to complete a post-graduate program in environmental visual communication through the Royal Ontario Museum and Fleming College. Since then Deirdre has led multimedia communications and reporting for local and international organizations of various sizes. A cinematographer, writer, and director and working in music videos, shorts, and feature-length films, she continues to facilitate impactful multimedia stories that address our relationships with the natural world. Kwamanchi, Alfonso Salinas is a shíshálh Nation member and the traditional wellness coordinator for the Nation. In his role, he creates programs to practice shíshálh traditions and opportunities for those who want to pass down their gifts. Alfonso received his drum from his grandfather in 2009 to become a song carrier. A graduate of the Indigenous filmmaker program at Capilano University, Alfonso worked for the shíshálh communications department and produced the “Voices of shíshálh” TV series. Later, he became a guide in Stanley Park teaching visitors the history and traditions of Coast Salish people. Alfonso continues to document important events for the Nation today. Working with diverse teams and communities, global funders and influencers, Canadian filmmaker Liz Marshall has written, directed, produced and filmed multiple impactful documentary projects around the globe since the 1990s. Motivated by the transformative language of film and television, her award-winning work is exhibited and reviewed widely. Feature length and broadcast titles include: s-yéwyáw / Awaken (2023) Meat the Future (2020) Midian Farm (2018) The Ghosts in Our Machine (2013) and Water on the Table (2010). Transcript of this episode can be accessed at georgebrown.ca/TommyDouglasInstitute.   Image: Katherine Bruce, Deirdre Leowinata, Alfonso Salinas, Liz Marshall / Used with permission. Music: Ang Kahora. Lynne, Bjorn. Rights Purchased.  Intro Voices: Ashley Booth (Podcast Announcer); Bob Luker (Tommy); Grace Taruc-Almeda, Karin Maier and Jim Cheung (Street Voices)   Courage My Friends podcast organizing committee: Chandra Budhu, Ashley Booth, Resh Budhu.  Produced by: Resh Budhu, Tommy Douglas Institute and Breanne Doyle, rabble.ca.  Host: Resh Budhu.

Host Piya Chattopadhyay speaks with South Asian history professor Neilesh Bose about how Canada's allegations against India are playing out in diaspora communities, political science professor Bessma Momani and former diplomat Arif Lalani unpack how recent events are affecting Canada's role on the world stage, Karl Subban talks about finding joy in hockey despite the problems plaguing it, IPCC chair Jim Skee reflects on the climate crisis, and Royal Ontario Museum curator Alexandra Palmer unspools the radical history of the cardigan. Discover more at https://www.cbc.ca/sunday

There may be no better person that embodies the vision of “Plant Stories” like herbal troubadour and Appalachian naturalist, Doug Elliot. A gifted storyteller, Doug recites both wisdom and whimsical through spoken word and song. We've compiled some of our favorite songs that Doug has recorded with us and are releasing them together, in this delightful and heart-warming episode. Our host, Thomas, gives a brief introduction in between Doug's sets, offering context for each of the four botanical tales & tunes.  Today's episode also comes with a special visual bonus! We had the pleasure of visiting with Doug in the summer of 2022 at his Appalachian homestead. Click here to see some of the photos of Doug in his element.  Visit the links below to watch the videos of Doug's storytelling serenades on our YouTube channel: Dandelion Tips, Tales, & Tunes Life Lessons Through a Song About an Apple Rural Riddles & Blackberry Boogie A Sweet Strawberry Tale & Tune Want to hear more from Doug? Give “Interviews on Herbal Radio | Featuring Doug Elliot” a listen! Visit Doug Elliot's website here Doug Elliot is a naturalist, herbalist, storyteller, basket maker, back-country guide, philosopher, and harmonica wizard. For many years made his living as a traveling herbalist, gathering and selling herbs, teas, and remedies. He has spent a great deal of time with traditional country folk and indigenous people, learning their stories, folklore and traditional ways of relating to the natural world. In recent years he has performed and presented programs at festivals, museums, botanical gardens, nature centers and schools from Canada to the Caribbean. He has been a featured storyteller at the National Storytelling Festival. He has lectured and performed at the American Museum of Natural History in New York, the Royal Ontario Museum in Toronto and conducted workshops for the Smithsonian Institution. He has led ranger training sessions for the National Park Service and guided people on wilderness experiences from down-east Maine to the Florida Everglades. He was named harmonica champion at Fiddler's Grove Festival in Union Grove, N.C. He is the author of five books, many articles in regional and national magazines, has recorded a number of award winning albums of stories and songs, and is occasionally seen on PBS-TV, and the History and National Geographic Channels. In recent years, he has received a variety of honors. The National Storytelling Network (the largest storytelling membership organization in the world) inducted him into their Circle of Excellence for “exceptional commitment and exemplary contribution to the art of storytelling.” The International Herb Association presented him with the Otto Richter Award honoring his work with herbs and useful wild plants. The National Association for Interpretation (the professional organization of park rangers, naturalists, museum curators, etc.) gave him the Master Front Line Interpreter Award for his “mastery of interpretive techniques, program development, and design of creative projects” celebrating the natural world and our human connection to nature.  Elliot's passion for the natural world developed in early childhood roaming the woods and waters around his home. His dad used to say, “That boy knows what's under every rock between here and town.” He still roams the woods today. He has traveled from the Canadian North to the Central American jungles studying plant and animal life and seeking out the traditional wisdom of people with intimate connections to the natural world. And he still looks under rocks. These days he uncovers more than just a few strange critters; he brings to light the human connection to this vibrant world of which we are a part. Join our community! Subscribe to the Mountain Rose Herbs newsletter Subscribe to Mountain Rose Herbs on YouTube Follow on Instagram Like on Facebook Follow on Pinterest Read the Mountain Rose Herbs blog Follow on TikTok Strengthening the bonds between people and plants for a healthier world. Mountain Rose Herbs www.mountainroseherbs.com

Ash & Cory describe their visit to and talk generally about the Royal Ontario Museum. A thrilling adventure that has a mystery monster, a disappearing hot dog cart and more!

Trying to help his ailing dad has turned into a surprising win for medical school graduate, David Hodgson. who designed an inhaler his dad could use for his breathing issues. It's even taken home first place in the Global Student Entrepreneur Awards. Hodgson told us more details. There are ukulele enthusiasts everywhere, but many of them seem to gather along hwy 11. So much so that there is now a club for them, H11CUPS. Karen Ross, co-founder of the H11CUPS, was elated to talk more on the experience We've been introducing you to the bug life that surrounds us as we enjoy the great outdoors. Our friendly neighborhood entomologist Antonia Guidotti of the Royal Ontario Museum has been telling us about insects to look out for. This time it's all about the Northern Black Widow spider, and the Lone Star tick.

The latest in our series on tiny creatures bugging Ontarians this summer. This week, parasitoid wasps, which lay their eggs inside other animals. Antonia Guidotti, an entomology technician with the Royal Ontario Museum, told us about the surprising benefits. The Kingston firefighter camp Girls in Gear has been teaching a group of young girls this week in hopes to interest women into the career. Ann Bryan, a veteran Kingston firefighter, and Kailee Matthey, who is one of the campers, spoke to us about the experience. . Stone Fence Theatre in the Ottawa Valley usually does plays inspired by historical figures, but this summer they're bringing you a spoof of current events and cranky conversations between conspiracy theorists.

Louise Hung plays William Byrd's Preludium and Galiardo Mrs. Mary Brownlo from 'Parthenia or the Maydenhead of the first musicke that ever was printed for the Virginalls (in England at least), composed by three famous masters: William Byrd, Dr. John Bull and Orlando Gibbons' was probably printed in 1613. Audio production by Matthew Antal. Virginal made by Matthew Redsell after an instrument by Johannes Perticis in the Royal Ontario Museum. 

During the early days of the COVID-19 Pandemic, being at home with my thoughts, I kept busy by researching mokuhanga. And one of my many discoveries was the exhibition at the Portland Art Museum held from September 24, 2020, to June 13, 2021, called Joryū Hanga Kyøkai, 1956-1965: Japan's Women Printmakers and curated by Japan Foundation Associate Curator of Japanese Art and Interim Head of Asian Art Jeannie Kenmotsu. It was an exhibition of mokuhanga, etchings, and lithography of a group of printmakers I didn't know much about. Individually I may have heard their names but as a group? I needed to learn more.    History is an essential part of mokuhanga; to search out those printmakers who have come before us to understand what they did and how they did it. I have learned so much from the past that I can use it in my own work for my present and future.        On this episode of The Unfinished Print, I speak with Jeannie Kenmotsu, Ph.D., about the Joryu Hanga Kyokai and, the road to this exhibition, the work that went behind it. We explore how the Joryu Hanga Kyokai showed a different face of printmaking in Japan. We discuss Tokyo during the 1950s and 1960s, the mokuhanga and print culture of the time, internationalism, and how this exhibition could catalyze more research on this incredible group.  Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me at theunfinishedprint@gmail.com  Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Joryū Hanga Kyōkai, 1956-1965: Japan's Women Printmakers - was an exhibition curated by Jeannie Kenmotsu from September 24, 2020 - June 13, 2021, at the Portland Art Museum. It is the first step in understanding and education on the subject of women in Japanese printmaking in modern Japan. Members of the group were  Romanesque Architecture - is a style developed in the north of Italy, parts of France, and the Iberian Peninsula in the 10th century. Evolving from thick walls, no sculpture, and ornamental arches into towering round arches, massive stone and brickwork, small windows, thick walls, and an inclination for housing art and sculpture of biblical scenes.  For more information abbot Romanesquwe architecture you can find that, here.  Portland Art Museum - established in 1892, the PAM has established itself as one of the preeminent art musuems on the West coast of the United States. The musuem has 40,000 pieces of art and art objects. More information about PAM can be found here.  The Royal Ontario Museum - also known as The ROM, is an art, world culture, and natural history museum in the city of Toronto, and is one of the oldest museums in the city. More info, here.  mokuhanga in the 1950's and 1960's - Japanese woodblock printmaking became quite popular after World War II. With Japan growing exponentially post war, through industry and art, the independent philosphy that the West perpetuated began to filter into the Jpaanese art world. Sōsaku hanga became increadingly popular where there is only one carver, printer and draughtsman. These prints touched on various themes, but especially in the abstract. Artists such as Shigeru Hatsuyama (1897-1973), and Kiyoshi Saitō (1907-1997) spring to mind, who created a new kind of mokuhanga by using various techniques, colours, and sizes  that were unique and expressive. Oliver Statler's book, written in 1956, Modern Japanese Prints : An Art Reborn, was published because the art form was growing so quickly. It is a great summary  on the sōsaku hanga movement during that time.  Edo Period prints - woodblock prints of the Edo Period (1603-1867) were predominantly of kabuki actors (Sharaku), and courtesans (Harunobu) beginning in the middle of the 18th century. The traditional system of production came into play when making ukiyo-e of this period, designer,  carver, printer, and publisher. Famous designers of the day were Hiroshige (1797-1858), Hokusai (1760-1849). Lewis and Clark Centennial Exposition - was an international fair in 1905 held in Portland, Oregan, USA from June 1 - October 15 and attracted over 1 million visitors. It helped to showcase Portland and its environs, promoting the movement and expansion West by settlers. The Portland Art Museum began shortly after the Exposition as The Portland Art Association needed its own space to showcase art pieces from the Exposition.  The Metropolitan Museum of Art - is the largest art museum in North and South America. It began to be assembled by John Jay (1817-1894) in the late 19th century. Incorporated in 1870, the museum has collected many essential pieces, such as the works of Henri Matisse (1869-1954) and Pierre-Auguste Renoir (1841-1919). For more information about the MET, you can find it here. Adolphe Braun (1812-1877) - was a German-born photographer who helped to establish photography as an art form. His work with the reproduction of art furthered art history throughout the world. Chizuko Yoshida (1924-2017) - was the wife of painter and printmaker Hodaka Yoshida. Beginning as an abstract painter, Chizuko, after a meeting with sōsaku hanga printmaker Onchi Kōshirō (1891-1955), Chizuko became interested in printmaking. Chizuko enjoyed the abstraction of art, and this was her central theme of expression. Like all Yoshida artists, travel greatly inspired Chizuko's work. She incorporated the colours and flavours of the world into her prints. Rain B (1953) 14 3/4 x 9 7/8" Yoshida Hiroshi (1876-1950) - a watercolorist, oil painter, and woodblock printmaker. Is associated with the resurgence of the woodblock print in Japan, and in the West. It was his early relationship with Watanabe Shōzaburō, having his first seven prints printed by the Shōzaburō atelier. This experience made Hiroshi believe that he could hire his own carvers and printers and produce woodblock prints, which he did in 1925.  Osaka Castle (1935) Fujio Yoshida (1887-1997) - the wife of Hiroshi Yoshida and the mother of Tōshi Yoshida (1911-1995) and Hodaka Yoshida. Fujio was so much more than a mother and wife. She had a long and storied career as a painter and printmaker. Fujio's work used her travels and personal experiences to make her work. Subjects such as Japan during The Pacific War, abstraction, portraits, landscapes, still life, and nature were some of her themes. Her painting mediums were watercolour and oil. Her print work was designed by her and carved by Fujio.  Yellow Iris (1953)  Hodaka Yoshida (1926-1995) - was the second son of woodblock printmaker and designer Hiroshi Yoshida (1876-1950). Hodaka Yoshida's work was abstract, beginning with painting and evolving into printmaking. His inspirations varied as his career continued throughout his life, but Hodaka Yoshida's work generally focused on nature, "primitive" art, Buddhism, the elements, and landscapes. Hodaka Yoshida's print work used woodcut, photo etching, collage, and lithography, collaborating with many of these mediums and making original and fantastic works. Outside of prints Hodaka Yoshida also painted and created sculptures.     Dawn At Sea (1969) - silkscreen 25 5/8" x 19 3/8" (AP) Tōshi Yoshida (1911-1995) - was the second child of Hiroshi Yoshida and Fujio Yoshida, although the first to survive childhood. Beginning with oil paintings and then apprenticing under his father with woodblock cutting. By 1940 Tōshi started to make his mokuhanga. After his father's death in 1950, Tōshi began to experiment with abstract works and travel to the United States. Later travels to Africa evolved his prints, inspiring Tōshi with the world he experienced as his work focused on animals and nature.  Irises and Ducks - 19 5/8" x 11 3/4" Ayomi Yoshida - is the daughter of Chizuko and Hodaka Yoshida. She is a visual artist who works in mokuhanga, installations and commercial design. Ayomi's subject matter is colour, lines, water, and shape. Ayomi's lecture referred to by Jeannie at PAM can be found here. She teaches printmaking and art. You can find more info here.  Black Marks (1999) 20 1/2 × 20 1/8 in (AP) Guide to Modern Japanese Woodblock Prints: 1900-1975 - is a book published by the University of Hawai'i in 1995. It is a reference book describing artists, publishers, and carvers. It contains no images but is a valuable resource for the mokuhanga academic.  Uchima Toshiko (1918-2000) - was a Manchurian-born Japanese artist who worked in mokuhanga, liothography, assemblages and collage. She was one of the founders of the Joryū Hanga Kyōkai in 1955/56. She lived most of her life in the United States, specifically New York City.  Package From Italy - collage 19.8"x16.8" in Ansei Uchima (1921-2000) - was a mokuhanga printmaker in the sōsaku hanga style of Japanese printmaking. He was the translator for Japanologist Oliver Statler (1915-2002). Way For Hakone (1966) 13 3/4 x 21 in Oliver Statler (1915-2002) -  was an American author and scholar and collector of mokuhanga. He had been a soldier in World War 2, having been stationed in Japan. After his time in the war Statler moved back to Japan where he wrote about Japanese prints. His interests were of many facets of Japanese culture such as accommodation, and the 88 Temple Pilgrimage of Shikoku. Oliver Statler, in my opinion, wrote one of the most important books on the sōsaku-hanga movement, “Modern Japanese Prints: An Art Reborn.” Iwami Reika (1927-2020) - was a Japanese-born artist and one of the founders of the Joryū Hanga Kyōkai. For a short video about Iwami Reika's work, check out Artelino.com. Round Shadow C (1957) sōsaku-hanga - or creative prints, is a style of printmaking which is predominantly, although not exclusively, prints made by one person. It started in the early twentieth century in Japan, in the same period as the shin-hanga movement. The artist designs, carves, and prints their own works. The designs, especially in the early days, may seem rudimentary but the creation of self-made prints was a breakthrough for printmakers moving away from where only a select group of carvers, printers and publishers created woodblock prints.  Yoseido Gallery - is a fine print gallery located in the Ginza district of Tōkyō, Japan since 1953. More information can e found, here. Francis Blakemore (1906-1997) - was an American-born artist, writer, philanthropist and curator of modern Japanese mokuhanga. She lived in Japan for over fifty years and helped to support the burgeoning sōsaku hanga print movement of the 1950s. Blakemore worked in mokuhanga (collaborating with Watanabe Shōzaburō) and making self-printed and carved prints. She also worked in oils.  Far Eastern Madonna (1939) white line woodblock print  Japanese Economy of the 1950's - from 1945-1991 Japan had its most prosperous period of economic growth. By 1955 the economic began to grow twice as fast as prior to '55. According to The Berkley Economic Review the advancement of technologies, accumulation of capital, increased quantity and quality of labor, and increased international trade were the main reasons that strenghtend Japan. For more information regarding the begining of this growth you can find the BER article here.  intaglio printing - is a printing method, also called etching, using metal plates such as zinc, and copper, creating “recessed” areas which are printed with ink on the surface of these "recesses.” More info, here. The MET has info, here.   Minami Keiko (1911-2004) - was a Japanese-born artist and a founder of the Joryū Hanga Kyōkai. Keiko's work is abstract, whimsical and youthful. She lived mainly in Paris, France, where she studied aquatint etching under Johhny Friedlaender (1912-1992). More information about Minami Keiko's art and life can be found here.  House With Sun and Trees : watercolour and gouache 14 3/4x11 in. Yōzō Hamaguchi (1909-2000) - was a Japanese-born mezzotint printmaker who lived in Paris, France, for most of his life. He was the husband of Minami Keiko.  Bottle With Lemons and Red Wall (1989) mezzotint 30 x 24 in. mezzotint - is a style of printmaking which uses a copper plate, “rocked” with a tool called a rocker, and then burnished with various devices. A good video showing the entire process from start to finish of a mezzotint print can be found here by the artist Julie Niskanen Skolozynski. Kobayashi Donge - is an aquatint etching artist who's subject is generally women and literature.  Roses Go Well With Mount Fuji (1993) etching with hand colouring on paper Tokyo University of the Arts (Geidai) - founded during the merger of the Tokyo Fine Arts School and the Tokyo Music School in 1949, TUA offers Masters's and Doctorate degrees in various subjects such as sculpture, craft and design as well as music and film. It has multiple campuses throughout the Kantō region of Japan. More information regarding the school and its programs can be found here.  担当者 - is a Japanese word which means “person in charge." Nihon Hanga Kyōkai - is the Japanese Printmakers Association. It was created in 1918, focusing on the new sōsaku hanga print movement. It evolved into a modern print organization covering various types of printmaking, such as relief, intaglio, planographic (lithography and offset printmaking), and stencil. You can find more information on their website in Japanese and English here. First Thursday Society (一木会) - was created by printmaker Onchi Kōshirō (1891-1955). The group brought artists and collectors to discuss the growing sōsaku hanga (creative print) movement to collaborate, share their work, and it acted as a mentorship program.  Un'ichi Hiratsuka (平塚 運一) - (1895-1977) - was one of the important players of the sōsaku hanga movement in mokuhanga. Hiratsuka was a proponent of self carved and self printed mokuhanga, and taught one of the most famous sōsaku hanga printmakers in Shikō Munakata (1903-1975). He founded the Yoyogi Group of artists and also taught mokuhanga at the Tōkyō School of Fine Arts. Hiratsuka moved to Washington D.C in 1962 where he lived for over thirty years. His mokuhanga was multi colour and monochrome touching on various subjects and is highly collected today.  Landscape (1934)  College Women's Association of Japan - was started by the alumnae of Mount Holyoke College from Massachusetts. Later expanding to other universities and colleges in the US, the CWAJ  established Japanese women to study abroad through travel grants and scholarships, thereby promoting Japanese culture. What began as a fundraising program from 1956 onward, the annual print show has become one of the most essential print shows in the world, showcasing prints of all types. It is the largest juried print show in Japan. More information about the CWAJ and its print show can be found here.  Kantō (関東地方) - is a region located on the main island of Honshu, Japan, which encompasses the Prefectures of Gunma, Tochigi, Ibaraki, Saitama, Tōkyō, Chiba and Kanagawa. The Kantō Regional Development Bureau of the Ministry of Land Infrastructure, Transport and Tourism oversees these prefectures. More information can be found here.  Kansai (関西地方) - is a region located on the main island of Honshu, Japan, which encompasses the Prefectures of Nara, Kyoto, Wakayama, Osaka, Hyōgo, Shiga and Mie. It has the most UNESCO world heritage sites in Japan. For tourist information about Kansai, see here.  Jun'ichirō Sekino (1914-1988) - was a Japanese mokuhanga printmaker of the sōsaku hanga creative prints movement. Sekino's works are landscapes and portraits and are black and white and colourful. Sekino studied under Onchi Kōshirō. He was invited to the United States several times as a visiting professor at Oregon State University, the University of Washington, and Penn State University in 1963, where he taught classes on mokuhanga. You can find more information about Sekino and his work and life on his website here.  U.S Army Officer (1948)  24"x18.8" in. Munakata Shikō (志功棟方) - (1903-1975) arguably one of the most famous modern printmakers; Shikō is renowned for his prints of women, animals, the supernatural and Buddhist deities. He made his prints with an esoteric fervour where his philosophies about mokuhanga were just as interesting as his print work.  Night Birds (The Fence of...) 7.4"x11.5" in. Aomori (青森県) - is a prefecture in north Japan. Located about an hour and a half from Tōkyō, Aomori is known for its incredible nature, festivals, sports and outdoor activities in all four seasons. More information can be found here.  Kobe, Japan - is the capital city of Hyōgo Prefecture in Japan. One of the few ports open to Western trade, Kobe has always had a great vibe. With a lot to visit and see, Kobe has many attractions, such as its harbour, Mount Rokkō, and various museums and mansions on the hill; its proximity to Osaka and Kyoto makes it an ideal place to visit. For more information about Kobe, Japan, see here.  Shirokiya - was a department store company which started in Japan with various stores throughout Japan and Hawai'i. It was founded in Tōkyō in 1662 and went out of business in 2020. The store was famously depicted in a Hiroshige print, View of Nihonbashi Tori-itchome 1858.  Sarah Lawrence College - is a liberal arts college in Yonkers, New York.  Founded in 1926, Sarah Lawrence has been dedicated to the education process and inclusivity of its student body since its inception. For more information about the school and their work can be found here. Pratt Institute - is a private university located in Brooklyn, New York. Established in 1887 and founded by American business magnate Charles Pratt (1830-1891), the Pratt Institute focuses on the liberal arts such as architecture, art and design, shaping leaders of tomorrow. For more information about TPI, you can look here.  Elise Grilli (d.1969) - was an art critic and author who wrote for the Japan Times. She lived in Japan throughout the 1940's into the 1960's. Her book The Art Of The Japanese Screen is considered a classic.  Charles Terry (1926-1982) - was an author and translator of Japanese in Tōkyō for Harry J. Abrams.  James A Michener (1907-1997) - a Pulitzer Prize winning writer, scholar and academic who wrote on Japanese prints, amongst many more topics. Shima Tamami (1937-1999) - was a mokuhanga printmaker who joined the JHK when they had already established themselves. Her career was short, moving to the United States in the 1960s. Her mokuhanga depicts Japanese aesthetics and themes producing still lives. Her work was featured in James Michener's book, The Modern Japanese Print: An Appreciation, in 1962. For more information and images of Tamami Shima's work, please check out the Viewing Japanese Prints site here. Bird B (1959) 11.9"x16.3" in. Noriko Kuwahara - is a scholar, curator, and author of Japanese art in Japan.  PoNJA-GenKon - is an online listserve group which means Post-1945 (Nineteen Forty Five) Japanese Art Discussion Group Geidai Bijutsu Kondankai. It was established in 2003 to bring together specialists in Japanese art in the English speaking world. For more information about what PoNJA-GenKon does search here. Philadelphia Museum of Art - originating with the Centennial Exhibition of 1876, the PMA has over 200,000 pieces of art and objects and is one of the preeminent museums in the US. More information can be found here. Sakura City Museum of Art -  is a fine art museum located in Sakura City, Chiba, Japan. It is dedicated to the arts of those form Sakura City and Bosho. More information in Japanese here.  Ao no Fūkei (Landscape in Blue) - is a mokuhanga print created by Chizuko Yoshida in 1972.  Futurism - is an art movement which began in Italy. It was established in the early 20th Century by artists Filippo Tommaso Marinetti (1876-1944), Umberto Boccioni (1882-1916), and Carlo Carrà (1881-1966), amongst others. The idea of Futurism was to reject the past and celebrate the speed and power of the present, of industrialization and modernity through art. Futurism influenced other artistic communities around the world.  The Endless Manifesto - Started by Tommaso Marinetti's original manifesto on Futurism called Manifesto of Futurism, the Futurists wrote many manifestos about their ideas on art, history, politics, literature, music, among other topics, until 1914, as well as books, articles in literary journals, magazines and newspapers. The MoMA has written a good article on the Futurists and their manifestos and writings here. © Popular Wheat Productions opening and closing musical credit - Joe Chambers "Ruth" released on Blue Note Records (2023) logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Українi If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***                    

What's it like to perform on a stage? To wear a character's clothes, speak their words, use their mannerisms? For some, it's terrifying. For today's guest, it's her life's work. Lynn McNutt is an actor, singer, writer, and professor at Florida Atlantic University. With 25 years of experience performing in theaters all over the country, Lynn is embarking on a different theatrical quest.  "Blue: A Rhapsody in Blubber" is a one-woman show about the complex lives of three unlikely characters: a baby blue whale, an elderly man, and a middle-aged woman. Lynn tells Gerard how she first got the idea to write "Blue" while visiting the Royal Ontario Museum. She also shares what it's like performing in her first one-woman play, depicting a blue whale, and teaching Shakespeare to graduate students. Listen in and learn something new today! Host: Gerard Legagneur Guest: Lynn McNutt  Link: Tickets for "Blue: A Rhapsody in Blubber" Link: Follow Lynn on Instagram DONATE: Gerard's Guitars Over Guns fundraiser! Visit The Fresh Mix Website: FreshMixPodcast.com Follow The Fresh Mix on Social Media: Instagram | Twitter Email the Show: FreshMix@FloridaPodcastNetwork.com Executive Producer: Jaime Legagneur Lead Content Producer: Amber Amortegui Additional Support Provided by: Listeners Like You and Flint Stone Media ------------------------------- Production House: Flint Stone Media Partner with FPN: Become the voice of YOUR segment of Florida!! From sponsoring episode segments through creating and growing your own branded show, we have the solution to promote you while we promote Florida! FPN Media Kit We are currently boarding shows to build out our network. And, you don't want to miss ANY of the new hosts and podcasts were have joining us. Search for and subscribe to “Florida Podcast Network” on iTunes and all your favorite podcast players to get more of this and ALL our shows. Become a Patron: Have a suggestion for the Network? Join us in the FPN Insiders group on Facebook and let us know!    FPN:  Check out the other shows on the Florida Podcast Network

What's it like to perform on a stage? To wear a character's clothes, speak their words, use their mannerisms? For some, it's terrifying. For today's guest, it's her life's work. Lynn McNutt is an actor, singer, writer, and professor at Florida Atlantic University. With 25 years of experience performing in theaters all over the country, Lynn is embarking on a different theatrical quest.  "Blue: A Rhapsody in Blubber" is a one-woman show about the complex lives of three unlikely characters: a baby blue whale, an elderly man, and a middle-aged woman. Lynn tells Gerard how she first got the idea to write "Blue" while visiting the Royal Ontario Museum. She also shares what it's like performing in her first one-woman play, depicting a blue whale, and teaching Shakespeare to graduate students. Listen in and learn something new today! Host: Gerard Legagneur Guest: Lynn McNutt  Link: Tickets for "Blue: A Rhapsody in Blubber" Link: Follow Lynn on Instagram DONATE: Gerard's Guitars Over Guns fundraiser! Visit The Fresh Mix Website: FreshMixPodcast.com Follow The Fresh Mix on Social Media: Instagram | Twitter Email the Show: FreshMix@FloridaPodcastNetwork.com Executive Producer: Jaime Legagneur Lead Content Producer: Amber Amortegui Additional Support Provided by: Listeners Like You and Flint Stone Media ------------------------------- Production House: Flint Stone Media Partner with FPN: Become the voice of YOUR segment of Florida!! From sponsoring episode segments through creating and growing your own branded show, we have the solution to promote you while we promote Florida! FPN Media Kit We are currently boarding shows to build out our network. And, you don't want to miss ANY of the new hosts and podcasts were have joining us. Search for and subscribe to “Florida Podcast Network” on iTunes and all your favorite podcast players to get more of this and ALL our shows. Become a Patron: Have a suggestion for the Network? Join us in the FPN Insiders group on Facebook and let us know!    FPN:  Check out the other shows on the Florida Podcast Network

John Ruffolo is the Founder and Managing Partner of Maverix Private Equity, a private equity firm focused on technology-enabled growth and disruption investment strategies. As an active board member in the profit and not-for-profit sectors, John works with many leading innovative organizations including AI Partnerships Corp., engineering.com, Ether Capital, OneEleven, the David Suzuki Foundation, the CIBC Foundation, and the Royal Ontario Museum.  Throughout his career, John continues to be recognized for his unparalleled contributions to the growth of the technology sector and expansive vision of Canada's economy. For instance, in 2014, John was recognized as Canada's #1 of the 100 Most Powerful Business People by Canadian Business Magazine (#3 in 2015) and was selected as one of Toronto's 50 Most Influential People by Toronto Life (#16 in 2015, #40 in 2016, #26 in 2017). In 2018, John was honored with the Order of Merit of the Italian Republic, making him a fifth Class Knight.  John sits down with Scott to offer his perspectives on fostering self-discipline.

For episode 77 of the Afternoon "T" Podcast Chris sits down to chat with Canadian VC legend John Ruffolo. John is the founder and Managing Partner at Maverix Private Equity, as well as the former CEO of OMERS Ventures, one of the largest and most active venture capital firms in Canada. Under his leadership, OMERS Ventures invested in several successful Canadian startups, including Shopify, Xanadu, Jobber, Hootsuite,  Desire 2 Learn, Hopper,  League, and Wattpad.  John also co-founded the Council of Canadian Innovators with Jim Balsillie, a non-profit organization dedicated to helping high-growth Canadian technology firms scale globally. As an active board member, John works with many leading innovative organizations including AI Partnerships Corp., engineering.com, Ether Capital, and OneEleven. John is equally recognized for his involvement in the non-profit sector, including serving as a member on the boards of the David Suzuki Foundation, the CIBC Foundation, and the Royal Ontario Museum to name a few.

Welcome to the second episode of “Plant Stories” on Herbal Radio. Our hope is for this show to be entertaining and fun – and maybe we'll learn a little something along the way too.  There may be no better person that embodies the vision of “Plant Stories” like herbal troubadour and Appalachian naturalist, Doug Elliot. A gifted storyteller, Doug recites both wisdom and whimsical through spoken word and song. We've compiled some of our favorite songs that Doug has recorded with us and are releasing them together, in this delightful and heart-warming episode. Our host, Thomas, gives a brief introduction in between Doug's sets, offering context for each of the four botanical tales & tunes.  Today's episode also comes with a special visual bonus! We had the pleasure of visiting with Doug in the summer of 2022 at his Appalachian homestead. Click here to see some of the photos of Doug in his element.  Visit the links below to watch the videos of Doug's storytelling serenades on our YouTube channel: Dandelion Tips, Tales, & Tunes Life Lessons Through a Song About an Apple Rural Riddles & Blackberry Boogie A Sweet Strawberry Tale & Tune Want to hear more from Doug? Give “Interviews on Herbal Radio | Featuring Doug Elliot” a listen! Visit Doug Elliot's website here   Doug Elliot is a naturalist, herbalist, storyteller, basket maker, back-country guide, philosopher, and harmonica wizard. For many years made his living as a traveling herbalist, gathering and selling herbs, teas, and remedies. He has spent a great deal of time with traditional country folk and indigenous people, learning their stories, folklore and traditional ways of relating to the natural world. In recent years he has performed and presented programs at festivals, museums, botanical gardens, nature centers and schools from Canada to the Caribbean. He has been a featured storyteller at the National Storytelling Festival. He has lectured and performed at the American Museum of Natural History in New York, the Royal Ontario Museum in Toronto and conducted workshops for the Smithsonian Institution. He has led ranger training sessions for the National Park Service and guided people on wilderness experiences from down-east Maine to the Florida Everglades. He was named harmonica champion at Fiddler's Grove Festival in Union Grove, N.C. He is the author of five books, many articles in regional and national magazines, has recorded a number of award winning albums of stories and songs, and is occasionally seen on PBS-TV, and the History and National Geographic Channels. In recent years, he has received a variety of honors. The National Storytelling Network (the largest storytelling membership organization in the world) inducted him into their Circle of Excellence for “exceptional commitment and exemplary contribution to the art of storytelling.” The International Herb Association presented him with the Otto Richter Award honoring his work with herbs and useful wild plants. The National Association for Interpretation (the professional organization of park rangers, naturalists, museum curators, etc.) gave him the Master Front Line Interpreter Award for his “mastery of interpretive techniques, program development, and design of creative projects” celebrating the natural world and our human connection to nature.  Elliot's passion for the natural world developed in early childhood roaming the woods and waters around his home. His dad used to say, “That boy knows what's under every rock between here and town.” He still roams the woods today. He has traveled from the Canadian North to the Central American jungles studying plant and animal life and seeking out the traditional wisdom of people with intimate connections to the natural world. And he still looks under rocks. These days he uncovers more than just a few strange critters; he brings to light the human connection to this vibrant world of which we are a part. On a side note, we're so excited for the upcoming International Herb Symposium, June 9 – 11, 2023. Are you interested in attending? Buy your early bird tickets before Feb. 28, 2023 for discounted pricing. Join our community! Subscribe to the Mountain Rose Herbs newsletter Subscribe to Mountain Rose Herbs on YouTube Follow on Instagram Like on Facebook Follow on Pinterest Read the Mountain Rose Herbs blog Follow on TikTok

Today's episode was recorded in late summer of 2022 at Doug Elliott's home in Appalachia. You'll hear a symphony of crickets and other wildlife in the background as Thomas and Doug discuss his childhood, learning folk methods from 'old timers', as well as the path of learning about and connecting with medicinal plants. We hope you enjoy the wonderful and entertaining stories from our dear and magical friend, Doug Elliott. Introduction song "Dandelion Tips" sung by Doug Elliott. Doug Elliott is a naturalist, herbalist, storyteller, basket maker, back-country guide, philosopher, and harmonica wizard. For many years made his living as a traveling herbalist, gathering and selling herbs, teas, and remedies. He has spent a great deal of time with traditional country folk and indigenous people, learning their stories, folklore and traditional ways of relating to the natural world. In recent years he has performed and presented programs at festivals, museums, botanical gardens, nature centers and schools from Canada to the Caribbean. He has been a featured storyteller at the National Storytelling Festival. He has lectured and performed at the American Museum of Natural History in New York, the Royal Ontario Museum in Toronto and conducted workshops for the Smithsonian Institution. He has led ranger training sessions for the National Park Service and guided people on wilderness experiences from down-east Maine to the Florida Everglades. He was named harmonica champion at Fiddler's Grove Festival in Union Grove, N.C. He is the author of five books, many articles in regional and national magazines, has recorded a number of award winning albums of stories and songs, and is occasionally seen on PBS-TV, and the History and National Geographic Channels. In recent years he has received a variety of honors. The National Storytelling Network (the largest storytelling membership organization in the world) inducted him into their Circle of Excellence for “exceptional commitment and exemplary contribution to the art of storytelling.” The International Herb Association presented him with the Otto Richter Award honoring his work with herbs and useful wild plants. The National Association for Interpretation (the professional organization of park rangers, naturalists, museum curators, etc.) gave him the Master Front Line Interpreter Award for his “mastery of interpretive techniques, program development, and design of creative projects” celebrating the natural world and our human connection to nature. Elliott's passion for the natural world developed in early childhood roaming the woods and waters around his home. His dad used to say, “That boy knows what's under every rock between here and town.” He still roams the woods today. He has traveled from the Canadian North to the Central American jungles studying plant and animal life and seeking out the traditional wisdom of people with intimate connections to the natural world. And he still looks under rocks. These days he uncovers more than just a few strange critters; he brings to light the human connection to this vibrant world of which we are a part. Visit Doug Elliott's website here. Watch Doug Elliott's videos on the Mountain Rose Herbs YouTube channel: A Sweet Strawberry Tale & Tune Dandelion Tips, Tales & Tunes Life Lessons Through a Song About an Apple Rural Riddles & Blackberry Boogie   Join our community! Subscribe to the Mountain Rose Herbs newsletter Subscribe to Mountain Rose Herbs on YouTube Follow on Instagram Like on Facebook Follow on Pinterest Read the Mountain Rose Herbs blog Follow on TikTok Strengthening the bonds between people and plants for a healthier world. Mountain Rose Herbs www.mountainroseherbs.com

The importance of passion cannot be understated.  It can be a wonderful and beautiful thing, and if it's made into a positive part of not only one's own life but for others as well; it's a passion worth pursuing.  On this episode of The Unfinished Print I speak with mokuhanga collector, self taught scholar and instructor, Carol Dorman. Having seen her work and lectures with the Japan Foundation Toronto, on various topics on ukiyo-e history and culture, I found her knowledge and story to be of great interest. I speak with Carol about her journey from working at the CBC for the national news, to working side by side with Stuart Jackson, a mokuhanga gallery owner here in Toronto. Carol speaks on her love of the ukiyo-e period of Japanese woodblock prints, her collecting, how that world has changed dramatically during her time at The Stuart Jackson Gallery, and we discuss her work at the LIFE Institute of Toronto where she teaches and instructs age 50+ students about ukiyo-e history.  Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me at theunfinishedprint@gmail.com  Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note. Pieces are mokuhanga unless otherwise noted. Regina, Saskatchewan - is the capital of the Canadian Province of Saskatchewan. Located on the land of the Cree, Saulteaux, Dakota, Nakota, Lakota, and Métis peoples, it is the 16th most populace city in Canada.  The city has many restaurants, museums, and other places of interest. More info can be found at Tourism Regina, here.  University of Toronto -  considered a public research university, U of T is located in the city of Toronto, Ontario, Canada, and was founded in 1827. It has educated any number of famous Canadian authors, scientists, politicians, and the like. More info, here.  Stuart Jackson Gallery - is a ukiyo-e specific gallery located at 882 Queen Street W. in Toronto, Ontario, Canada. It has been doing business in Toronto for almost fifty years. More info, here.  The Royal Ontario Museum - also known as The ROM, is an art, world culture, and natural history museum in the city of Toronto, and is one of the oldest museums in the city. More info, here.  The Canadian Broadcasting Corporation - also known as the CBC, is a Canadian Federal Crown corporation and is the oldest broadcasting network in Canada. Founded in 1936, the CBC broadcasts news, original programming, and sports throughout Canada and the world. They broadcast via various digital platforms as well as terrestrial platforms such as television and radio.  More info, here. Meiji Period of Japan (1868-1912)- the Meiji Period in Japanese history is synonymous with turmoil and regime change. The Meiji Period is named after Prince Mutsuhito (1852-1912), who became Emperor after his fathers death, Emperor Kōmei (1846-1867). Mutsuhito's reign came at the end of the Keiō Era, (1865-1868), until his own death in 1912.    Utagawa Kuniyoshi (1798-1861) - is considered one of the last “masters” of the ukiyo-e genre of Japanese woodblock printmaking. His designs range from landscapes, samurai and Chinese military heroes, as well as using various formats for his designs such as diptychs and triptychs.    Tsuzoku Suikoden Goketsu Hyakuhachi-nin no Hitori (津属水滸伝後けつ百八人にの一人 ca. 1827)   Utagawa Kunisada (1786-1865) - arguably one of the more important woodblock print designers, Kunisada designed many types of prints, from landscape, books, erotica, sumo etc.  Kunisada worked during the period of ukiyo-e history with Andō Hiroshige (1797-1858), Katsushika Hokusai (1760-1849), and the above mentioned Kuniyoshi. Defintely a rich and abundant period in Japanese woodblock print history.  Oni Azami Seikichi (鬼あざみ清吉) 1859   Yorkville, Toronto - Yorkville is a neighbourhood located in the heart of Toronto. It has a rich history, politically and culturally. It has become a high end neighbourhood in the city, with many expensive shops,  luxury homes and condos. It is famous for once being the hotbed of folk music in the world, outside of New York City, in the 1960's. Performers such as Neil Young, Joni Mitchell, Bob Dylan amongst others performed in the various clubs in the neighbourhood.    2008 Financial Crisis - was a world wide financial crisis which started in 2007 and lasted throughout 2008 and onwards. This crisis affected housing, mortgages, the automotive industry, and world economic markets.    David Kutcher is the owner and operator of Moonlit Sea Prints, located in Easthampton, Massachusetts. His interview with The Unfinished Print can be found, here.    Fading of Japanese woodblock prints - certain colours, especialy in ukiyo-e period prints (beni), are known to fade over time. Since pigments in mokuhanga are generally water based, they will fade naturally, but more quickly if located near sunlight. There are many reasons why your print will fade, so the website Viewing Japanese Prints has written a fine article regarding those very reasons, amongst other ways you can protect your mokuhanga collection. You can find that article, here.    The Kentler International Drawing Space - is an art gallery located in Red Hook, Brooklyn, New York. It has hosted several mokuhanga centred exhibitions. The most recent was Between Worlds as hosted by The Mokuhanga Sisters, from July 17 - July 31, 2022. More info, here.    Red Hook, Brooklyn, NY - is a neighbourhood in Brooklyn, New York. Once called South Brooklyn and once an industrial area, Red Hook has evolved over time to house many New Yorkers who are looking to be close to Manhattan and still be able to afford a home. There is a great New York Times article, here, which explores the history of this fascinating area.    Doi Hangaten -  is a mokuhanga print publisher located in Tōkyō, Japan. Once a publisher of prints associated with the shin-hanga movement of the ealry twentieth century, the company continues to publish reproductions of famous Japanese prints, in the old ways. Most recently, the Doi family have collaborated with David Bull and Mokuhankan to publish new verions of some of the old blocks from almost 100 years ago. More info about the Doi Hangaten can be found here, here and here. The collaboration videos produced by Mokuhankan regarding the Doi family and the subsequant collaboration can be found, here.    LIFE Institute - is a learning facility for adults age 50+.  The LIFE Institute began in 1991, and has a membership of 2500 today. The institute offers high quality education in the Arts, Humanities, Science and Technology, amongst others. Courses are conducted in person or online. More info can be found, here.    The National Gallery of Art - is a free art gallery located in Washington D.C. Founded by financier Andrew W. Mellon. The West building was constructed in 1941. The gallery houses more than 150,000 pieces of art and is dedicated to education and culture. More info can be found, here.    Itō Jackuchū (1716-1800) - was a Japanese painter who painted in silk. His work can be seen in scrolls (kakemono), sliding doors (fusuma), and folding screens (byōbu). Known for his wild style of painting, Jackuchū's most popular theme is of birds. There are many books wirtten about Jackuchū and his life and times. More info can be found, here , to get you started.  Rooster (18th Century)   Nishiki-e (錦絵) - is the Japanese phrase for colour woodblock prints, otherwise known as brocade pictures.    Ogata Gekkō (1859-1920) - was a painter, illustrator and mokuhanga designer. Gekkō's work has a delightful water colour style, where the subjects seem to be floating and light, regardless of whether the subject is a beautiful woman or a ghostly fox. Gekkō's subject matter ranged from landscapes, to mythology. Ogata Gekkō had a full career, from working with many publishers for his print designs to founding various art associations. More information about the life and career of Ogata Gekkō can be found, here, on David Humphries' fantastic website about the artist.  Drawing Water from Yoro Waterfall — 養老孝子瀧を汲の図 (1896)   Prussian Blue - is a dark blue pigment, which has been used by painters, and mokuhanga printmakers. The pigment has been used in Europe since the 18th Century, and in Japan since around 1820, having been imported by Europeans into Japan.    Evolution of Pigments in Mokuhanga - the evolution of pigments in mokuhanga began with hand painting in the later 17th Century, to the multi coloured prints of ukiyo-e, shin hanga, and sōsaku hanga. More info regarding the pigment evolution can be found, here, at the Library of Congress.    The Japan Foundation - is a not for profit organization established in 1972, with many offices located around the world. The Japan Foundation Toronto has been active in the city since 1990. More info, here for the JF worldwide, and here for Toronto.    Elizabeth Forrest - is an award-winning Canadian artist and mokuhanga prinmaker. She has been producing mokuhanga since the late 1980's when she lived and studied in Kyoto. She has studied with the late Akira Kurosaki (1937-2019).  More info about Elizabeth's work can be found, here.  And It Began To Rain (2014)   Akira Kurosaki 黒崎彰 (1937-2019) - one of the most influential woodblock print artists of the modern era. His work, while seemingly abstract, moved people with its vibrant colour and powerful composition. He was a teacher and invented the “Disc Baren,” which is a great baren to begin your mokuhanga journey with. At the 2021 Mokuhanga Conference in Nara, Japan there was a tribute exhibit of his life works. Azusa Gallery has a nice selection of his work, here. Taurus (1973)   Barbara Wybou - is a Canadian mokuhanga artists who lived, worked, and studied in Japan for twenty years. Her home these days is Toronto where she continues to work on her mokuhanga. Notably she studied with the late Tōshi Yoshida (1911-1995). Her work can be found, here.  Rats 3   Toyohara Kunichika (1835-1900) -  was a Japanese woodblock designer of the Utagawa School of artists. His work flourished in the Meiji Period (1868-1912) of Japanese history, a period of immense change politically, economically, and industrially. Some of Kunichika's works can be found, here.    Onoe Kikugorō V as The British Spencer (1894)   War prints & Japanese Imperialism - as Japan entered the Pacific Theatre of war (1941-1945) with the United States, the fascist military government had complete power in Japan at the time, and used woodblock prints, as well as other mediums such as lithography and photography, to propagandize their war effort. Printmakers such as Kawase Hasui (1883-1957) even got involved in producing prints that helped the war effort. He designed several war prints during this time period. Prints such as The Red Setting Sun, is a prime example of how the times and aesthetic show a relatively innocuous scene of figures (Japanese soldiers) riding on horses with a setting sun back drop. For more detailed information regarding war time prints I suggest, Conflicts of Interest: Art and War in Modern Japan, ed. Philip K. Hu w/ Rhiannon Paget, and The Politics of Painting by Asato Ikeda. My interview with Rhiannon Paget PhD can be found, here.    Russo-Japanese War (February 8, 1904 - September 5, 1905) - was a war between two colonial powers, the Imperial Russian and Imperial Japanese military, taking place in China. Information about its background can be found here at history.com, and here.    bijin-ga - (美人画) is the Japanese term for beautiful women in mokuhanga.  Itō Shinsui (1898-1972) After Washing Her Hair (1936)   yakusha-e - (役者絵) is the Japanese term for actor prints in mokuhanga.  Utagawa Yoshiiku (1833-1904) Oyama Doll - Ichikawa Udanji (1893)   Taishō Period  (1912-1926) - a short lived period of Japanese modern history but an important one in world history. This is where the militarism of fascist Japan began to take seed, leading to The Pacific War (1931-1945). More info can be found, here.   hanmoto system - is the Edo Period (1603-1868) collaboration system of making woodblock prints in Japan. The system was about using, carvers, printers, and craftsmen by various print publishers in order to produce woodblock prints. The system consisted of the following professions; publisher, artist, carver, and printer.   Yamato Take no Mikoto with His Sword Kusanagi - is the print by Ogata Gekkō which Carol mentions as one of her favourite prints.     Oliver Statler (1915-2002) -  was an American author and scholar and collector of mokuhanga. He had been a soldier in world war 2, having been stationed in Japan. After his time in the war Statler moved back to Japan, where he wrote about Japanese prints. His interests were of many facets of Japanese culture such as acoomodation, and the 88 Temple Pilgrammage of Shikoku. Oliver Statler, in my opinion, wrote one of the most important books on the sōsaku-hanga movement, “Modern Japanese Prints: An Art Reborn.”   John Stevenson -  is an American author who has written extenisvely on Tsukioka Yoshitoshi (1839-1892).    Tsukioka Yoshitoshi (月岡 芳年) was a mokuhanga designer who is famous for his prints depicting violence and gore. His work is powerful, colourful, and one of the last vibrant moments of the ukiyo-e genre of woodblock prints. More information about Yoshitoshi's life and his copious amount of work can be found, here.    The Flower of Edo (1858) Utagawa Kuniyoshi (歌川 國芳) - was a print designer and painter known for his triptychs, yoko-e (horizontal landscape prints), Yokohama-e (prints with Yokohama as its subject), and yakusha-e (actor prints). Considered as one of the last of the "golden age" print designers of the ukiyo-e genre.  Ichikawa Kodanji IV as the ghost of Asakura Togo (possibly 1851) Kunisada/Kuniyoshi Exhibit - was an art exhibition held at the Museum of Fine Arts Boston from August 11 - December 10, 2017. There was also an excellent catalogue printed for this show and would add to any woodblock print fan's library. more info, here. The book I reference about Toyohara Kunichika is "Time Present and Time Past of a Forgotten Master: Toyohara Kunichika 1835-1900"  There are various online print collections that the aspiring mokuhanga scholar can seek out to help in their studies. The Library of Congress has their collection online, as does ukiyo-e.org, who have various impressions af their prints throughout their website.  Scholten Japanese Art - is a mokuhanga focused art gallery located in midtown Manhattan. It was founded by René Scholten, an avid collector of the Japanese print. More info can be found, here. Acadia Books - is a vintage and unique used bookstore located at Sherbourne and Queent St. East in Toronto, Ontario, Canada. In my opinion it is one of the best bookstores I have had the priviledge to visit. More info, here.  © Popular Wheat Productions opening and closing musical credit - intro music is Spill Yer Lungs and outro music is Tailor  both by Julie Doiron from her album I Can Wonder What You Did With Your Day (2009) on Jagjaguar Records logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Україну If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***                

Would you consider yourself a logical person? If your answer is yes, how do you combine what your heart tells you vs. what your brain wants? My guest has been in those situations many times. She uses her logic everyday as a User Experience team leader at Google. But you probably have seen her previous work as well without knowing it: she made sure your experience using your Playstation or even using your Blackberry phone is enjoyable. She realized how important not only logic, but how important intuition is when making decisions. Understanding how to combine those two forces can help you to improve yourself, and Reena shares her story on how she did it. She is also the Founder and CEO of OurVoice, a community benefit organization dedicated to strengthening our self esteem and authentic presence. ‍ Reena is also a visual artist, and her artwork has been exhibited at venues including the Royal Ontario Museum and the Canadian National Exhibition.

Artist Kent Monkman talks about challenging the way museums tell Indigenous stories with his new exhibit, Being Legendary, which sees him take over the Royal Ontario Museum in Toronto, using the artifacts there to reshape the narrative. Actor Katie Boland tells us how she juggled producing, writing, directing and starring in her latest film, We're All in This Together. Back in 2019, actor and singer Angela Lansbury joined Tom Power to reflect on Murder, She Wrote, plus, her incredible career on stage and screen.

It's SPOOKBEASTY season again! Phoenix Register: new merch! Secrets of Dumbledore Loungefly collection.  The Royal Ontario Museum is hosting a SPOOKTACULAR Fantastic Beasts-themed event on 10/28. Canadian listeners, go and report back! Owl Post: Jeri writes in about Vogel's possible involvement in Grindelwald's escape. Main Discussion: Scenes 25-29 of the screenplay Berlin = cold.. "I just … I just wanna go to the station where my friends Newt and Theseus were"

This week Maureen Taylor, The Photo Detective, is joined by Dr. Kate Strasdin, author and honorary deputy curator at the Totnes Fashion and Textile Museum. She was behind the exhibition in Bath, England, that was named one of the top twelve exhibitions of the year by Vogue Magazine.The two discuss historical fashion, and how our ancestors worked with textiles to modify their wardrobes, as well as how we can preserve these garments, and even how the people of the past tried to.Related Episodes:Episode 85: Pin-Up Photos and Modern WomenEpisode 72: Wearing the Past: A Modern Woman's Fascination with Period DressLinks:Dr. Kate StrasdinSign up for my newsletter.Watch my YouTube Channel.Like the Photo Detective Facebook Page so you get notified of my Facebook Live videos.Need help organizing your photos? Check out the Essential Photo Organizing Video Course.Need help identifying family photos? Check out the Identifying Family Photographs Online Course.Have a photo you need help identifying? Sign up for photo consultation.About My Guest:Dr. Kate Strasdin joined Falmouth University in 2009 as an associate lecturer teaching histories and theories to students in BA(Hons) Fashion Design and BA(Hons) Performance Sportswear Design. She is the author of  Inside the Royal Wardrobe: A Dress History of Queen Alexandra.  She became a historical consultant for the exhibition Royal Women at the Fashion Museum, Bath in 2018 (named as one of Vogue's top 12 exhibitions of the year).  In 2011 she received the annual Gervers Fellowship given by the Royal Ontario Museum in Toronto. Dr. Stasdin is honorary deputy curator at the Totnes Fashion and Textile Museum in Devon.About Maureen Taylor:Maureen is a frequent keynote speaker on photo identification, photograph preservation, and family history at historical and genealogical societies, museums, conferences, libraries, and other organizations across the U.S., London, and Canada.  She's the author of several books and hundreds of articles and her television appearances include The View and The Today Show (wherTaking a DNA test is a fun summer activity for the whole family. You can discover new relatives through MyHeritage DNA, learn about your origins, and expand your family history research. MyHeritage DNA is on sale for $44 if you use the code Photo5 at myheritage.com/DNA. This is a special offer for Photo Detective listeners from August 22 until August 25, 2022. I wanted to remind you all that I run one-on-one Photo Consultations, that help identify photo clues that you may have missed, in order to help you better understand your family history. Not many people realize that the saying is true - and that a photo can tell a million stories. All sessions are recorded, and there's a discount for bulk image sessions. Find out more on my website at https://maureentaylor.com. Support the show

After receiving his Ph.D. in biology from Harvard University in 1984, Hans Sues conducted research as a postdoctoral fellow at McGill University and the Smithsonian on early Mesozoic vertebrates and ecosystems. In 1992, he became Curator of Vertebrate Paleontology at the Royal Ontario Museum in Toronto and joined the faculty of the Department of Zoology at the University of Toronto. In 1999, Sues was appointed Vice President of Collections & Research at the Royal Ontario Museum and later held equivalent senior management positions at the Carnegie Museum of Natural History in Pittsburgh and the National Museum of Natural History in Washington, DC. He is now Senior Research Geologist and Curator of Fossil Vertebrates in the Department of Paleobiology at the National Museum of Natural History.His research program centers on terrestrial vertebrate diversity and faunal changes during the late Paleozoic and Mesozoic eras and the evolutionary history of archosaurian reptiles, especially dinosaurs. Sues has authored or co-authored more than 150 scientific articles in leading peer-reviewed journals and edited volumes. He has edited or co-edited a number of books on vertebrate paleontology and paleoecology. Pre-order my new book 'The Path of an Eagle: How To Overcome & Lead After Being Knocked Down'.► AMAZON US► AMAZON AUSSupport this show http://supporter.acast.com/thestorybox. See acast.com/privacy for privacy and opt-out information.

Today we're thrilled to talk with local storyteller, naturalist and herbalist Doug Elliott. He's the author of several books, including “Wild Roots: A Forager's Guide to the Wild Edible and Medicinal Roots, Tubers, Corms, & Rhizomes” and also has produced a CD titled “Crawdads, Doodlebugs and Creasy Greens: Songs, Stories and Lore Celebrating the Natural World”. Doug has lectured and performed at the American Museum of Natural History in New York, the Royal Ontario Museum in Toronto and conducted workshops for the Smithsonian Institution. He has led ranger training sessions for the National Park Service and guided people on wilderness experiences from down-east Maine to the Florida Everglades. He was also named harmonica champion at Fiddler's Grove Festival in Union Grove, N.C.! Quite the jack of all trades I'd say.

Cree artist Kent Monkman is known for his provocative challenges to the representation of Indigenous peoples in Western Art, which often feature his two-spirit artistic persona, Miss Chief. Monkman's work is widely exhibited in Canada and internationally, including at New York's Metropolitan Museum of Art and the Smithsonian's National Museum of the American Indian. Through the summer of 2022, he has exhibitions at the National Gallery of Canada and in the fall, at the Royal Ontario Museum. This episode originally aired on April 19, 2016.

“To have even a brief conversation with artist Michael E. Taylor is to dive headfirst into a deep pool of scientific and intellectual inquiry. Taylor has always been an extremely analytical artist, responding with equal fervor to his intellectual encounters with scientific ideas, art history, philosophy, or current events. Whether inspired by formal quality of geometry, the Higgs boson particle, or the moral implications of artificial intelligence, Taylor's work is ultimately about investigation.” – Museum of Glass, Tacoma, solo show, Traversing Parallels, 2017/2018. Widely-renowned for his cut and laminated glass works, geometric constructions, and fractal abstractions inspired by everything from subatomic particles to music, Michael E. Taylor first used glass while attending a workshop at Penland School of Crafts in North Carolina. He was struck by the material's heat and spontaneity, a dynamic opposite from the deliberate and extended processes for firing and shaping ceramics. Dedicated to art and education for over 49 years, the artist was born in Lewisberg, Tennessee, in 1944, where he initially studied ceramics while working towards a Bachelor of Science in Art Education from Tennessee State University. Studying ceramics honed his intuitive sense of form, color, and design; skills which would later be important to his glass career.  One of the first generation of artists to learn from the founders of the Studio Glass movement, Taylor experienced the early days of glass through interactions with Harvey Littleton, Fritz Dreisbach, and Marvin Lipofsky. As a young student, a Fulbright Hayes Grant to Scandinavia introduced him to the factories of Kosta-Boda Glasbruke and Johansfors Glasbruke, as well as artists of the region, including Anna Warff.  Taylor's artistic career has been intertwined with decades as a university professor, including a more than 20-year tenure as a professor in the School for American Crafts at Rochester Institute of Technology, invited Professor at the Universidade Nova de Lisboa, Faculdade de Ciencias e Tecnologia, Campus da Caprica, Portugal, 2005 – 2013, and instructor at schools in the US such as Pilchuck, Penland, and the Corning Museum of Glass. His career in academia made it possible to experiment and explore new ideas through his sculpture instead of feeling pressure to repeat popular works for monetary sales. The academic setting also allowed Taylor to continue to explore scientific, philosophical, and artistic ideas. While at the College of Idaho and teaching the history of modern art, Taylor's directive led to political and visual expressions of the Russian revolution and artists of constructivism. The hard lines and acute angles of constructivism of the 1920s continued to scientific theory and theoretical physics. Using glass with scientific exactness and austerity resulted in further architectural form and shapes of accuracy. Readings of future science and cultural futurism led to issues of DNA and binary systems as they related to laminations in his work.  Taylor states: “Art reflects thought and ideals of the period in which it is made. It can relate to predictions for the future. My work speaks of the importance of science and technology and its eventual dominance through Artificial Intelligence.” Taylor's honors and awards are many and include the Calouste Gulbenkian Foundation Grant, 2009, 2011; Luso – American Foundation Grant, Portugal, 2002 -2007; Outstanding Visual Artist Award, Arts and Cultural Council of Greater Rochester, New York, 2001; College of Imaging Arts and Sciences, Research and Development Grant, RIT, 2000; Grand Prize, The International Exhibition of Glass, Kanazawa, Japan, 1988; National Endowment for the Arts, Visual Artists Forums Grant, 1985-86 and Visual Artist Fellowship, National Endowment for the Arts, 1984-85. Other educational awards and opportunities include a Lewis Comfort Tiffany Grant, Penland School Scholarship, and The American – Scandinavian Foundation Grant. His work can be found in the permanent collections of the Chrysler Museum of Art, Norfolk, Virginia; the National Collection of American Art, Renwick Gallery, Smithsonian Institute, Washington, D.C.; The Museum of Glass, Tacoma, Washington; Asheville Museum of Art, North Carolina; Racine Museum of Art, Racine, Wisconsin; Royal Ontario Museum, Toronto, Ontario, Canada; Glas Museum Ebeltoft, Ebeltoft, Denmark; Kanazawa City Museum, Kanazawa, Japan; and Tokyo Glass Art Institute, Kawasaki-Shi, Japan, to name only a few. Inviting viewers to utilize scientific-like observations to analyze the implications of a rapidly changing world, Taylor's sculpture is both triumphant and cautionary, simultaneously celebrating technological breakthroughs and worrying about their implications. By using glass to make these theoretical connections, the artist inspires contemplation of social and scientific issues and continues to take the material of glass into new expressive terrain. States Taylor: “The race is on in all technological advanced countries for the discovery of human consciousness for AI. I predict it will be the last frontier of human intellect. I have constructed a laminated slab of color blocks which represent the codes for the human consciousness. I see it as a kind of Rosetta Stone of translation from one language to another – binary to English. The RS interpretation of Egyptian hieroglyphics to Greek language allowed us to make the intellectual and cultural jump. “I see Codes as containing the information for making the final leap from human consciousness to that of machines. This will be a discovery of epic proportions. This would be the beginning of a new world of solutions to puzzles such as eternal life, interplanetary travel, and the discovery of philosophic truth for each individual human.”   

North Korea is reported to be on the brink of a Covid-19 catastrophe unless it rolls out vaccines and drug treatments immediately. We speak with international affairs expert Tina Park of Carleton University about the situation; Because of the restrictions caused by COVID-19, thousands of people in the province have been forced to wait for medical treatment. Dr. Jeffery Tyberg, the Chief of Staff at the Royal Victoria Regional Health Centre in Barrie tells us how they been trying to get to all the patients awaiting treatment; How high will they go? Roger McKnight, the chief petroleum analyst for the consulting group En-Pro International discusses the record-high gas prices; Joe Moysiuk -paleontologist and PhD candidate with the Royal Ontario Museum - tells us about some interesting local wildlife - from about 450 million years ago. He tells us about the discovery of the fossil of a marellomorph; A new movement emerging on social media could be indicative that young workers are ready to prioritize their work-life balance. We find out more from Ali Breen of the Challenge Factory; 46 wins in a row - and a perfect season for the Peterborough Junior A lacrosse team. Ed Arnold recalls the excitement of that 1974 season in his new book ‘Peterborough's Perfect Season: With Benny and His Jets.' David Lyon of Queen's University discusses his study that examines the impacts of the COVID-19 pandemic on surveillance, in particular how alert apps and other technologies were introduced without much explanation or follow-up; The Mayor of Owen Sound, Ian Boddy, takes Chris Glover and our new host Ramraajh Sharvendiran on a radio tour of his region.

Marrellomorphs are the group of early Paleozoic arthropods that get their name from the well-known Burgess Shale fossil Marrella splendens. They have for a long time been considered to be closely related to the trilobites, based on similarities in their gills, but numerous studies have since suggested they are closer related to mandibulate arthropods (crustaceans, insects & myriapods), although their strange appearance means other relationships might still be plausible. Since they have a soft exoskeleton, marellomorphs have a very poor fossil record and so the discovery of any new specimens outside of the Burgess Shale can be incredibly significant. In this interview, we speak to Joe Moysiuk of the University of Toronto and Royal Ontario Museum about his newly described species Tomlinsonus dimitrii.

KORE 670: The Podcast is a two-part podcast accompanying the Kore 670 Exhibit (March 12-September 25, 2022) at the Royal Ontario Museum.  This podcast is produced by the Hellenic Heritage Foundation (HHF), the lead patron of the exhibit.EPISODE 2The Parthenon Marbles & What Purpose Do Museums Serve? A discussion with Prof. Dimitrios Pandermalis, President of the Acropolis Museum on the Parthenon Marbles; also, what should museums be and what can they offer the public, with museum consultant Gail Lord and Paul Denis, Assistant Curator, Greek and Roman Galleries at the Royal Ontario Museum.The HHF is a national charitable, non-profit organization established in Toronto in 1996. Our mission is to preserve, promote, and advance Hellenic education, culture, and heritage in Canada by funding initiatives that enrich the lives of Hellenic Canadians and philhellenes.Learn more about the Hellenic Heritage Foundation here

KORE 670: The Podcast is a two-part podcast accompanying the Kore 670 Exhibit (March 12-September 25, 2022) at the Royal Ontario Museum.  This podcast is produced by the Hellenic Heritage Foundation (HHF), the lead patron of the exhibit. EPISODE 1A Kore Comes to Toronto. Learn all about Kore 670, a Greek archaic antiquity at the Royal Ontario Museum (ROM), on exchange from the Acropolis Museum in Athens. With Paul Denis, Assistant Curator, Greek and Roman Galleries at the ROM.The HHF is a national charitable, non-profit organization established in Toronto in 1996. Our mission is to preserve, promote, and advance Hellenic education, culture, and heritage in Canada by funding initiatives that enrich the lives of Hellenic Canadians and philhellenes. Learn more about the Hellenic Heritage Foundation here

Do you have any experience with either MSU or the state of Michigan?“Growing up on the north shores of Lake Superior, I would drive through the great state of Michigan many times on the way to my grandmother's house in Sarnia, Ontario on the other side of the Blue Water Bridge in Port Huron. And my first college football game was in Spartan Stadium in 1992. My dad was a huge Spartans fan. He brought the whole family down, and I was just shell shocked on what a great experience it was to see all the people and Spartans fans; that just blew me away. And then a few years later, my second game was here, and it was 10/10/1998. I was with my fiancé at the time, who is now my husband of 23 years. It was Michigan State versus Indiana. The game went into overtime and Michigan State won. It was very exciting and very loud and just a lot of energy and excitement. That left an impression on me.”What's your background?“I've just come off 7,060 days at Colorado State. I've been working and living in Colorado for the last 19 years and four months. And it's been a wonderful journey. I've done many different things working at Colorado State University advancing from working in two different colleges to working centrally and ultimately becoming the vice president of Advancement. Prior to that, I worked at two Canadian universities, and that's where I got my fundraising start. And before that, I worked in the arts; my undergraduate degree is in arts management. The beginning of my career was working with the Toronto International Film Festival and the Art Gallery of Ontario and the Royal Ontario Museum.”What got you interested in higher education fundraising originally? And why do you love the work?“My background is in arts management. Revenue generation is of utmost importance in the arts. That was interesting to learn about, but I really started working in cultural programming on campus at my alma mater, the University of Toronto. And then I was recruited by the executive director of development. At the time, the university was in a billion-dollar campaign. And they asked me if I'd join the team and the Great Minds for a Great Future Campaign. My boss assured me he'd teach me everything he knew about advancement and development. And then two weeks later, he promptly quit and went back to the private sector. So, it was a sink or swim moment. And I've always been a swimmer, Russ. So, I dove into the deep end and swam and have continued that career. Passion and leadership have been predisposed in me almost from birth. I've had great sponsors and mentors along the way who have helped me learn and grow, and now it culminates in this great experience at Michigan State and being a Spartan.”What attracted you to MSU at this time to lead Advancement here?“You mean beyond Sparty? I love Sparty! What a great mascot program. I was attracted to the caliber of the programs, research, creativity, artistry, and AAU status at MSU. I think Michigan State has it all. Obviously, the athletics program and being a part of the Big Ten is exciting. I love the land grant mission. That speaks to me and my family and my values. I think I can parlay some of those experiences and that real commitment and passion to the land grant institution and mission that I was introduced to in Colorado at Michigan State, being the original land grant. I really feel privileged to be here as part of that history.”What's the mission of University Advancement?“We work to advance the institution by connecting alumni and donors to the institution, whether it be through time, talent, treasure, or testimony. We work with folks to keep them connected and engaged in the great work happening at MSU to advance the mission, whether it's alumni, parents, grandparents, or community members. It's the difference between good and great. And at MSU the mission is defined as advancing MSU's excellence and enriching its future. Who doesn't want to be part of that?”Why is raising private dollars so important for maintaining and expanding MSU's excellence and impact?“I just mentioned that private dollars are the difference makers between good and great. This is a fine institution where just being good wouldn't allow us to realize our full potential. Philanthropy allows us to endow funds for students and to attract the brightest minds to the campus, whether it's faculty, students, or facilities - all those aspects that really allow us to reach those heights of excellence and create a margin of excellence for an institution.”How have advancement activities evolved over the years?“The real change I've seen over the years is the focus on donor relations and stewardship. And I feel strongly about that. There's a moral and ethical imperative to engage our alumni and donors and to have a level of accountability and transparency in what we do at the institution in what we are doing with their funding. For a lot of people, once they make a gift, that's when the relationship really starts. Previously, there wasn't as much attention given post gift. And that's really important. We really owe that to our contributors, our investors, and the people who believe in us.“Additionally, women have always been engaged in philanthropy, but a lot of times in the past it was more behind the scenes. There's a real movement to see women in philanthropy engage outwardly in the whole process. And as institutions, we're thinking about how we engage women and families in different ways. And I'm really excited to know that there's a Women in Philanthropy program here at Michigan State. MSU is ahead of the curve on that. I also think technology, automation, data management, privacy and topics like diversity, equity, and inclusion are being embraced as a nation.”How would you describe your fundraising philosophy?“I see philanthropy as an opportunity to build authentic relationships based on mutual respect. I once worked with a dean who was a philosopher and he said to his faculty, ‘If you don't respect the person giving you a gift, then you shouldn't accept the gift.' It really is at the heart of things that there must be a mutual interest and values alignment and interest in the work. Philanthropy is an optimistic act. There's a core of optimism in supporting disease eradication or giving somebody an opportunity they wouldn't otherwise have. We need to think about that and remember that people believe in us to make the world a better place and to really inspire them with what we're doing that will change the world in a way that they want to see that aligns with the work we're doing.”What are some of your short and long-term goals for MSU University Advancement?“We have a lot of work to do, and a lot of great work has already happened here. People are ready to move forward. Our next campaign is the big opportunity out there. And how do we align with the university's strategic plan and create a strategic plan for the division that is for the long term? We're building the forever future for Spartans and for this university. There is a lot of planning to do, and I'm excited to get going to ignite what will come after that.”What are challenges and opportunities ahead?“Right now, my biggest challenge is time, Russ. I just need more hours in my day. People want to move quickly; they're ready. But we also need to spend time listening and thinking and reflecting on what has happened before us. In balancing those two things, I think there's a great opportunity as people are able to come back to campus. As we reemerge from the last two years, there's nothing like coming to campus for Homecoming and other events. And yet, we've also learned the upside to offering virtual programming for our alumni and donors who live abroad or nationwide who want to participate. I look forward to working with the team to create a strategy that accomplishes and meets the needs of all people in all different ways to really continue to advance Michigan State University.“What a great opportunity to be here today. I just feel like this is an absolute honor to work in the advancement world. I'm at the nexus between a great institution and wonderful people who care and want to make a difference. I take that as a real honor and privilege and look forward to serving alongside everybody else who's been here before me and all those who will join us along the way. With that, Go Green!”MSU Today airs Saturdays at 5 p.m. and Sundays at 5 a.m. on WKAR News/Talk and Sundays at 8 p.m. on 760 WJR. Find “MSU Today with Russ White” on Spotify, Apple Podcasts, and wherever you get your shows.

A note from Talking Taiwan host Felicia Lin:   On March 9th Taiwan Post will be issuing a stamp commemorating the 150th anniversary of the arrival of Canadian missionary George Leslie Mackay in Northern Taiwan. Mackay was unlike most 19th century missionaries. He has been referred to as the “son-in-law of Taiwan,” and was a forward thinker. He was one of the first to oppose the Head Tax imposed on Chinese in Canada.   To help understand who George Leslie Mackay was and the significance of his contributions, I'll be speaking with Reverend Michael Stainton, the founder of the Canadian Mackay Committee. Reverend Stainton has worked for the last 25 years to promote the recognition of Mackay in Canada and on several campaigns for Canada Post to issue a stamp to commemorate George Leslie Mackay.   Those interested in contacting the Canadian Mackay Committee can email Canadianmackay@gmail.com   This episode of Talking Taiwan has been sponsored by the Taiwan Elite Alliance 優社 and the Taiwanese United Fund.   The Taiwan Elite Alliance 優社 was established in 2000 to promote Taiwanese and Taiwanese American arts and literature, and to protect and enhance the human rights, freedom and democracy of the people in Taiwan.   The Taiwanese United Fund is an arts and culture foundation that celebrates the cultural heritages of Taiwanese Americans. Established in 1986, the foundation's mission is to facilitate cultural exchange between the Taiwanese American community and other American cultural communities, hoping to enrich and expand our cultural experiences. To learn more about TUF visit their website  http://www.tufusa.org/    Here's a little preview of what we talked about in this podcast episode:   How and when Reverent Stainton first learned about Dr. George Leslie Mackay How Reverend Stainton was a student radical at York University and was involved in the anti-Vietnam War movement and interested in China How Reverend Stainton became disillusioned with the friendship work with China that he was doing How Reverend Stainton was initially reluctant to go to Taiwan to work with the Presbyterian Church in 1979 How the Kuomintang had cancelled elections in response to U.S. President Jimmy Carter's switch in recognition from the Republic of China to the People's Republic of China as the sole legal government of China (in 1978) The Tangwai movement in 1979 How Reverend Kao Chun-ming, who was the guarantor on Reverend Stainton's visa to Taiwan (in 1979) had gotten arrested for helping to hide Shih Ming-teh How things in Taiwan were in chaos when Reverend Stainton arrived there in 1980 Upon arriving in Taiwan Reverend Stainton was assigned to the Aboriginal Student Center At the time the Kuomintang believed the Presbyterian Church in Taiwan was a cat's paw of the Chinese Communist Party Reverend Stainton was warned that he would be watched and under surveillance with his phone calls tapped and letters opened How Reverend Stainton was asked to play the part of Dr. George Leslie Mackay in a play was put on for the 100th anniversary of the Mackay Memorial Hospital in 1981 In 1992 after Reverent Stainton had returned to Canada, he saw the importance of promoting the recognition of Dr. George Leslie Mackay in Canada How Dr. George Leslie Mackay breaks the stereotypes of 19th century missionaries How Joseph Steere a professor of Zoology at the University of Michigan who met Mackay in Taiwan in 1873 wrote that he observed that Mackay treated the Chinese as equals rather than an inferior race How Mackay learned Taiwanese culture and language from his students How Mackay accepted his students' suggestion and arrangement for him to marry a Taiwanese woman, Tiuⁿ Chhang-miâ (aka Minnie) How Mackay was criticized about his marriage and why he got married at the British Consulate How Mackay told the Foreign Mission Board of his marriage only after he had already gotten married Why Mackay is so beloved in Taiwan and is called the “son-in-law of Taiwan” How Mackay's upbringing influenced his values Mackay was the youngest son of a Scottish Evangelical Presbyterian family Mackay and his family had gone to Canada as refugees from the Sutherland Highland Clearances in northern Scotland because aristocratic landlords had pushed peasants off their land due to the English Industrial Revolution Mackay along with other refugees had been sent to Oxford county which is present-day South Central Ontario in Canada How highlanders (people from northern Scotland) were also looked down upon in Canada because they weren't civilized Scots from the south How the early injustice Mackay and his family experienced shaped him How he learned frontier medicine and developed strong resilience from growing up in the frontier The Zorra pioneers and how Zorra refers to part of the province of Ontario How Mackay became known for pulling teeth and was able to gain the trust of local people in Taiwan but he was not a dentist or doctor Mackay was given an honorary doctorate degree in 1881 Misconceptions about Mackay How Mackay discouraged foreign women missionaries from coming to teach (sewing and English) in favor of having local Taiwanese women converts teach in his school The great numbers of the Kavalan indigenous people who converted and joined Mackay's mission The ethnic revitalization among the Kavalan How the Kavalan used a patronymic name system, rather than surnames, but under Chinese rule they were assigned Chinese names and surnames, so some Kavalan adopted Mackay's Taiwanese surname “Kai” (偕) as their own What has changed in terms of what is known about Mackay Up until the 1990s much of what had been written about Mackay was hagiography The first international academic conference on Dr. George Leslie Mackay that Reverend Stainton organized in 1997 and how it boosted the study of Mackay How Mackay ended up in Taiwan and settling near Tamsui How the Taiwanese called foreigners like Mackay and indigenous people “barbarians,” and this created camaraderie between Mackay and the Kavalan people Reverend Stainton's efforts to try to get Canada Post to issue a stamp commemorating George Leslie Mackay which have included two previous campaigns in 2001 and 2022 Comparisons between getting a stamp approved by Canada Post vs. Taiwan Post In 2001 a stamp commemorating Mackay was issued in Taiwan Why Canada Post didn't approve a stamp commemorating the 150th anniversary of George Leslie Mackay's arrival in Taiwan The issues that Reverend Stainton has with the stamp that Taiwan Post is issuing on March 9 Why Mackay's wife was given the English name Minnie Mackay's lasting contributions in Taiwan Mackay's title of doctor was due to an honorary doctor of divinity Mackay's opposition of the Head Tax Mackay's lasting contributions in/to Canada Woodstock, Ontario's sister city relationship with Tamsui, Taiwan Mackay's intellectual curiosity and love of nature, astronomy, and botany Mackay's use of traditional Chinese medicine in his medical work The complete Kavalan people's bridal outfit on display at the Royal Ontario Museum, which was among the 16 crates of artifacts that Mackay brought back from Taiwan to Canada in 1893 Many of the items that Mackay collected are among the oldest collection of indigenous artifacts from Taiwan in the world   Related Links: To view all related links for this article, click link below: https://talkingtaiwan.com/george-leslie-mackay-canadian-missionary-iconoclast-and-his-contributions-to-taiwan-with-rev-michael-stainton-ep-173/

To access full blog post on the episode, full show notes and a photo diary, click below: https://www.ofsedgeandsalt.com/podcastblog/dougelliott Doug Elliott is a naturalist, herbalist, storyteller, basket maker, back-country guide, philosopher, and harmonica wizard. For many years made his living as a traveling herbalist, gathering and selling herbs, teas, and remedies. He has spent a great deal of time with traditional country folk and regional indigenous peoples, learning their stories, folklore and traditional ways of relating to the natural world. In recent years he has performed and presented programs at festivals, museums, botanical gardens, nature centers and schools from Canada to the Caribbean. He has been a featured storyteller at the National Storytelling Festival. He has lectured and performed at the American Museum of Natural History in New York, the Royal Ontario Museum in Toronto and conducted workshops for the Smithsonian Institution. He has led ranger training sessions for the National Park Service and guided people on wilderness experiences from down-east Maine to the Florida Everglades. He was named harmonica champion at Fiddler's Grove Festival in Union Grove, N.C. He is the author of five books, many articles in regional and national magazines, has recorded a number of award winning albums of stories and songs, and is occasionally seen on PBS-TV, and the History and National Geographic Channels.     Links: Doug Elliott's Bandcamp page, where you can listen to and download all of his full length albums and story recordings: https://dougelliott.bandcamp.com/ Doug Elliott's website and blog: https://dougelliott.com/ Doug Elliott's Youtube channel: https://www.youtube.com/channel/UCKpxmzq7RqmnGeW2R0UnfpQ Todd Elliott's ‘Mushrooms of the Southeast' book mentioned in the podcast Article on Bessie Jones, whom Doug mentions in a story on the podcast, national treasure and African American singer (also see video alongside others, displayed on blog post page for this episode) Support the podcast on Patreon to contribute monthly to our grassroots self-funding of this project  For one time donations to support this podcast: Paypal : paypal.me/petitfawn VENMO: @kelly-moody-6 Cashapp: cash.app/$groundshotsproject   Our website with an archive of podcast episodes, educational resources, past travelogues and more: http://www.ofsedgeandsalt.com  Our Instagram pages: @goldenberries / @groundshotspodcast Join the Ground Shots Podcast Facebook Group to discuss the episodes Subscribe to our newsletter for updates on the Ground Shots Project This episode hosted by: Kelly Moody Produced by: Kelly Moody and Ted Packard

Indigenous Paleolithic of the Western HemisphereWith Dr. Paulette SteevesPatty KrawecWe're here with Dr. Paulette Steves.Josh Manitowabi made a remark that the Anishinaabe word Giiwedin contains the idea of going home. And that what it was referring to was the glaciers, that the glaciers were going home. And this is knowledge that's contained with elders. And he gave me you know, reference to a couple of books where elders are, you know, talked about this, in the Cree have a similar word. I think it's a kiiwedin rather than with the G. And I was just so captured by this idea that our language contained knowledge, not only of the glaciers, but the fact that they hadn't always been there. And then I encountered somebody was talking on Twitter was talking about talking about Paulette’s book, Dr. Steeves Indigenous Paleolithic of the Western Hemisphere kind of expands on that hugely on Indigenous presence, not just 5000 years ago, or 10,000 years ago. Like, like your dissertation. You know, it's more than 100,000 years ago,Kerry: we love it so muchPatty: that’s an extremely long time. And I was just like, when I saw that this book existed, I was like, this needs to be in my and I rewrote part of the beginning of my book based on it. I was like, I need to get this book into my book. Because it is a story of beginnings, right? I don't focus on that. But creation stories ground us, they say so much about what we believe about ourselves.Dr Paulette Steeves:And that's, that's important. That language you Giiwedin, because that tells us that the people were here, before the glaciers came, right. And they were here when the glaciers went home. And white faculty, white archaeologists don't know our language, don't value our language, and don't understand that not just Indigenous history, but World History is held in those languages. So that's really, really an important point about the language.Patty: And then I came across it in your book, I came across more examples of that, right, where you talk about Thunderbirds and the terratorns, and the story of the Osage have, and then they went and found all these bones. And it's like, wow, it's like, if you talk to the people, maybe you could learn something.Paulette:Right. But archaeologists typically for decades forever wouldn't talk to Native American or First Nations people, because they didn't give their knowledge any value. And because their academic capital was built on our history, our artifacts, and how the archaeologists told the story. So, they owned it, they own the artifacts, if they talk to us, they were terrified, oh we might have to give them something back and acknowledge them, that is slowly beginning to change. But, you know, I worked in field archaeology a lot in the US and archaeologists were supposed to by their agreements, consult with tribes, and they didn't, and none of the archaeologists on the crew had a clue, even whose land they were on. So it was really sad. I learned a lot about how devastating archaeology can be to Indigenous history from working in field archaeology for I don’t know, six years in the US. And seeing that, you know, how terrified archaeologists were that, you know, the Indians were going to take everything back and, and they wouldn't own it. And that was their academic capital.So in an upcoming coming, grant, I have some collaborators and one of them is going to talk about the capitalism of history and how that is controlled by non-Indigenous archaeologists. And so there's a lot of points that people don't think about. They don't realize it's not just archaeology and history, capitalism is involved in a big way. The nation state is involved in controlling that story, because they stole all the land based on Oh, it's a terra nullius. nobody's using it, we can have it. Right. And so when we show that's not so it makes it unsafe for the nation state. But I mean, I got an email yesterday from an archaeologist that um, his wife is Colombian. And they went down to Bogota. And he talked to a lot of archaeologists there. And they don't even discuss what we call pre Holocene or pre 10,000 year before present sites because of the pressure from archaeologists in the US to deny it. And not to acknowledge that these these ancient Pleistocene sites exist. So a lot of the field of archaeology has ignored this timeframe for Indigenous people, because it's dangerous to go there. Because archaeologists in the US say soKerry:I'm fascinated with the world of archaeology and and the, the sense the knowing that we, as people who are Indigenous to the land, people who have existed beforehand, people who have been colonized in this space in time, I think we have an innate understanding that that existence began beyond what we are allowed to claim. And then, you know, the truths of those existence are scattered all over the world, you know, that were they there's these artifacts that show up, that can't be carbon dated within the timeframe that suits the world archaeological space that exists right now.And you mentioned something that brought up two questions for me, one being that, you know, you mentioned the capitalism, the capitalist kind of system that exists around archeology, as it exists now. And that brought to mind also how the colonial system managed to take the wealth out of our, you know, our peoples, and turned it into their ownership, their, you know, history, and also, my understandings or studies of things has always shown up that for, for the origins of white folks like that understanding of what it is to be white, you know, whatever we're going to use that they they that understanding isn't found everywhere, like it normally comes from, you know, people who have color involved in the spaces, and then somehow they show up, like we are older. We are older forms of existence, or older species that existed. And I find that an interesting space, like for you does that. Do you think that's one of the things that fuels this colonial way of being? Is that sense of wanting to know where they come from? Do you know what I mean?Paulette:Yeah, no, in, in a lot of the things that I've studied, I've really come to understand how archaeology is a child of colonization. And so if you go back into early archeology in the Americas, you'll see that Aleš Hrdlička was sort of a self trained archaeologist, he trained as a physician. But, he was extremely racist. And he claimed that the Indians had only been here 3000 years. And the thing is, if you if you look at what's required in archaeology, to make claims, and to write histories, you have to have data, you have to have evidence, you have to have science. And he was basing this on one graveyard he'd done up in Alaska. He wasn't even looking at, you know, all of the evidence from all of the continents. And he went to his grave denying that we been here for more than 3000 years.So it was actually an African American, freeman, a Black man in Texas who was working as a cowboy that found the site that broke that barrier and prove that we've been here at least 10,000 years. He found this site with these huge bones and realized they had to be extinct animals because they were way too big. And he told his story. And his story got to Jessie Figgins at the Denver Museum of Nature and Science. And in 1927, he went out and started excavating this area in Texas, and actually found what they call a Clovis point in the ribs of an extinct bison. And he had to fight for a few years and have people come and see it. Nobody would believe them because everyone believes Aleš Hrdlička, right. This white or white guy who was racist. And eventually that was accepted and they're like, Okay, so the Indians have been here at least 10,000 years. Right, but it's been stuck there since the 19, late 1920s. And all this evidence has surfaced are our ancestors left us their stories in the land to tell us of their time here. They left it on the rocks with rock art. They, they've held it in their oral traditions. Archaeologists have traditionally ignored all of that. But since I've started publishing and writing more or listening, and they're stepping out of that box, so there was there's a huge fear in archaeology, it's it's been said that if you talk about sites or published on sites that are older than then 11 or 12,000 years, that's academic suicide. Right? The violence that violence against archaeologists that found older sites that's not scientific, that's not academic, that's racist..Kerry:Mm hmm Could you tell us some of the stories tell us what, what, what the ancestors know and what was left in the rock art?Paulette:Oh, there's, there's so much in the rock art, it's immense. So I just had my students completed database of rock art sites whose location was known and made public. And we have, I think, over 2000 sites, there's another 1500 that are held within another database, and their their locations aren’t public. So I won't publish on those. But what that tells us is that, you know, those rock art sites are like mnemonic pegs. So I have heard that one person worked with elders in the Yukon, and they wouldn't tell certain stories. But if you took them back to a rock, or a certain area, they would sit down and start telling the story because the rock held that story. Right.So they have an amazing, amazing, very rich oral tradition of history. And when you hear, like, they have words in their language, that mean, the glaciers went home, you know, they were here, then. And that's anywhere from 8000 to 12,000 years ago. So you know that people have been here for such a long time.  Archaeology sites, they left stone tools, they left bone tools, they left their history of butchering mammals, they left botanical plants and medicines. And they left us those stories. It's up to us to retell those stories. Tom Delahaye, is an archaeologist who worked on a site in Chile. And he was trained like all archaeologists are trained to, you know, people were never here before 12,000 years or 11,200 years, when his site, Monte Verde data to 12,500 years, there was so much evidence there, he couldn't deny it. You know, there was meat, there was seaweed, there was medicine, there was botanicals, there was tools, it was in a peat bog. So that means the oxygen couldn't get in, everything was just really well preserved. He lost his funding, and he had to fight to get it back. That's how violent it is. So nobody would believe him. They hadn't been to the site or, you know, experience his data. But they just said, Oh, no, you're wrong, because people haven't been here. And he had to fight for years to get that site accepted. Now, he now has another area close to there that dates to over 30,000 years. But he, you know, he had he lost all of his funding, and he had to fight to get it back.And that's not right. We're supposed to be archeologists. We're supposed to study the history of humans, right? We're not supposed to deny it and say it doesn't exist before we even look. But that is the case for the Americas unfortunately.Kerry:And I I'm I'm, I'm really like hearing this, because I also know that that seems to have been something that happened even when we study Africa, and my understandings of you know, how they've carbon dated, you know, the Sphinx, there's been arguments in and around, that the Sphinx has existed for far longer than the 5000 years that they've dated it, give or take, you know, they mean that some people believe it's actually 25,000 years old, depending on how you carbon dated it. And I'm so curious to understand, you know, you mentioned it being archaeology, archaeological suicide. Why? What do you think is that that, you know, rigid buffer that is hit that space? Why?Paulette:Racism? So So you look at it, the nation state controls history, and so whoever controls the past controls the present, right. So if we are very infantile in time compared to global human history, we are the babies right? And so we're not evolved. We're not anything, we're dehumanized. So Vine Deloria Jr. talked about this and Vine Deloria Jr. has a quote and it was somebody thing like, you know, until we are equated with human history on a global scale in in ancient time, we will not have full humanity. So he knew that there were oral traditions and stories and evidence of being here much earlier. And he knew that like, the first archaeologists like Aleš Hrdlička said, We'd only been here 3000 years. So we're newcomers.So if you look at a lot of archaeological textbooks, or you hear archaeologists talk, they talk about the Indigenous people of the Americas being Asians from Asia, right? So totally disenfranchise us from our identity of being Indigenous to the Americas. Pardon me, Asia did not exist. Neither did an Asian culture 10 or 12,000 years ago, we are not Asians from Asia, we are Indigenous to these continents. And we have been for a very long time. But they teach. They they preach and teach this worldview that disenfranchises us from the land. Why? Whey all live on the land that the colonizing government stole, you know, through a genocide and intentional genocide, of putting they put rewards on Indian scalps, you'll get 50 bucks for a woman and 500 for a chief. Those were lost. So people were intentionally killing Indians. If people thought that Indians were human, you know, and it had been an established, you know, advanced culture, they wouldn't have been out there shooting them for 50 bucks.So so this started back, you know, what, when America started the dehumanization, and linking us to nature, not to culture, right, and it's taken over 100 years for people to realize, oh, they did have very advanced cultures, they have some of the earliest areas of agriculture, they have more Indigenous languages in the Americas than the whole rest of the world put together. Right, that really all humanizes us. And archaea, a few archaeologists have spoken out and said that, you know, archaeologists understand the importance of the past to people, and the importance of human, you know, history to humanizing people in a certain area.So our history was built in colonization, to dehumanize us, and we're rewriting that history. And that's important because that frames people's worldviews, and when you push back against that, and you inform their worldviews, and you give them all this new knowledge, they're going to see us different, right? They're going to vote different policies are going to be different. Land Claims are going to be different. We're still in a place where we're very dehumanized, and we're starting to reclaim that, and make it public. And people are just starting to understand it. It's like, all these settler people are scratching their heads going really holy. I didn't know that. Right? Like, people don't know. And so they just believe what they're taught.But one of the first things I teach students is to think critically, I mean, don't believe what's in that book, study it, find out for yourself, you have the skill to do that to become informed. And you see people and events in an entirely different way.Patty:Mm hmm. Your book it, you make a couple of interesting points that I've been, I mean, you talk about evidence is not found, because it's not looked for, you know, because they've got a particular story, you know, that they want to tell. And, you know, and we talk about different peoples being, you know, Asiatic or Caucasoid, or whatever. And, and these are modern, you know, these are modern racial categories, people who existed 12,000 years ago, 30,000 years ago, 40,000 years ago, they weren't any of those things. We're taking contemporary ideas, and imposing them. Like when we talk about how humanity started in Africa. Africa didn't exist 100,000 years ago. Africa is a very recent invention, that has a lot of colonial baggage attached to it, you know, and you look at kind of, I remember going to the Royal Ontario Museum in Toronto, and you see, you know, that poster of the evolution of mankind. And that start, he starts dark and hunched over and then becomes of white, he starts Black and becomes white.Paulette:There's this term called agnotology, which is the intentional teaching of ignorance, and the hiding of facts and data, right. So, US and Canadian education is based on agnotology. It's not so much what you're taught is what you're not taught. Right.So I asked all my classes this Where did humans begin? Africa. Okay. And what did humans evolve from. Well, primates and where did did primates evolve? Africa. No, the earliest primates in the world are from Wyoming. Right? 47% of the earliest proto primates are from Wyoming and Saskatchewan. So if primates as Nova has a little video that shows our earliest ancestors were did everybody first evolve? North America, North America, Hello. People aren't taught that I have a book chapter out there on that also.And that's really a great example of how agnotology is used. They don't teach students that the earliest primates are from the Americas. Right? And that's intentional, because that would make North America important. Imagine if people thought that it that everybody evolved from the earliest primates from North America, right? Could we say we have been here forever? Yes. Hello, of course. And it's scientific data to show it so. Agnotology unfortunately still plays a huge role in how students are taught, and so does racism and bias. I had to teach from one textbook. As a graduate student, you know, we have teach the professor's class and the textbook was talking about what is an artifact and these two authors said, Well, an artifact can be a beautiful 20,000 year old spearpoint from France. Or it could be an indistinguishable flake some weary Indian chucked out in the Mississippi cornfield 1500 years ago. So what kind of worldview are you framing? Beautiful ancient things come from Europe, but some weary Indian chucked out an indistinguishable flak? Why would you even say thatPatty:You weren't here 15,000 years ago, how did you know, he was tired?Paulette:And so I take that book, every chance I get. And I brought it up to the professor. And I said, do you understand how dehumanizing and wrong this is? He was really embarrassed, because he hadn't realized how bad that wasn't, he's been using that textbook for a while. Right? So first year, students, this is what they're taught.Patty:Right? And that becomes foundational, to how they, how they think their perspective. Alexis Shotwell does some really nice writing in her book, Knowing Otherwise about our implicit knowledge, you know, things that we know, but we don't articulate, you know, like the way our hands know how to do things. We don't have to think through how you know how to do stuff, our hands just know what to do. And, you know, we feel and, you know, and we have, we just know some things, and that it's this kind of stuff that that forms the basis of that, that, you know, nobody has to tell them that Indigenous people are, you know, backwards. And you know, less than and all of that they just know,Paulette:It’s normalized violence against Indigenous people. And that plays into how people frame and vote for and create policies for land claims for clean water, for human rights, right, for funding, for schooling, for everything, you know, and so people just normalize that we're worth less, because we're less human. So let's fund their schools like at only two thirds of what we fund, settler white schools, right? This, these are the kinds of things that play into it. And I'm kind of beginning to push the envelope further.So if we look at Northern Asia, we know that there were early hominids there 2.4 million years ago. So there's archaeology sites there where we know that Homo erectus or homo sapiens were home erectus like 2.1 million years ago at one site. We know there are sites in Siberia that date from 24,000 to 340,000 years. So why then, wouldn’t it have early humans? Because they follow animals, they follow herds of animals, because that's their sustenance, their food, right? Why would they have stopped there? If they already walked 14,000 kilometers from Africa? to Asia?Kerry:Why wouldn’t they just go ahead.Paulette:Why would they just stop? Oh, no, we can't cross there. Yeah, no, that doesn't. That's an anomaly. That does not make sense. So I'm now looking to start a new body of research where we'll actually look at what was the Paleo environment in Northern Asia and in northern North America, like at specific points in time, so we know, between glaciers, there was a land connection, and the entire land in the North was like a subtropical forest. So there was plenty of food we know because we know that mammals were coming and going. So camelid camels arose in the Americas. They had to migrate across there to get to the rest of the world. As did saber toothed cats, and and primates, right? So if they're all going from the west to the east, and humans are over there in the east, you know, when mammals are migrating back and forth, why would the humans stop? Right? Right? Like it doesn't make any sense.So I'm starting to build this new body of evidence and knowledge to show that it has never been impossible. From the earliest times we see, you know, 2.1 or 2.4 million years in Northern Asia, it was never impossible for mammals or humans to have come to North America, there's no way you can convince anybody really, if you're looking at the facts that they waited in, you know, 2 million years to do that. They were there the whole time. No.Patty:And you make  sorry, you make a really good point about Australia that I just kind of want want to bring up because they accept presence, you know, human presence in Australia much further back then they accept human presence in North America. And they also accept ocean travel. We always walked. We always walk, we had to wait for the snow to clear and we walked. But in Australia, they could take boats. So why couldn't we take boats? You know, like, and I thought that was a really, I thought those were some really good points, because I never thought about that.Paulette:Like, yeah, well, they don't teach you. They don't teach you didn't think about that at all right? You're not supposed to. But Crete, it was in Ireland that you always needed some form of water transport to get to. And there's sites on Crete that date to over 100,000 years. So we know that early humans were using forms of water transport to cross open bodies of water over 100,000 years ago. Well, now they're trying to say all the earliest, yeah, the earliest people in North America came 15,000 years ago, and they used boats and went along the ice. No, you know, we have points in Eastern Canada, one that was dredged up from the continental shelf that dates to over 22,000 years, that are exactly the same as points found in the area we know today as France that date to that same time. And people are like, Oh, no, that's impossible. Why? During times of glaciers, the water was less the oceans were sucked up in the glaciers. And that made the land crossing much more viable. And if you talk to a lot of Inuit people today, and you ask them, also, would you have any issues going, you know, a few 1000 miles across snow and ice? No, we do it every day. We do it all the time. That's our way of life right, people were accustomed to crossing through glacial areas. Awesome. Right?Kerry:I love what you're saying so much, because a part of what I've always felt, when you when you take a look at the the history of the world, is how much it's kept fragmented. And yet, just like people, you know, like, I always feel this even with history, just how segmented we you know, the colonial system will take pieces of, and yet it doesn't take into accountability, that flow that ebb and flow that we as human beings just naturally have. Also, our relationship with the land, you know, we've had to live on Mother Earth forever. And, you know, wherever we, wherever she throws at us, we've had to adjust. And so I always find it fascinating that, um, you know, one of the beautiful things about the the human species is our ability to, you know, to innovate and to create, so why wouldn't we be able to adapt, create and innovate to move with whatever the environmental, geographical areas are presenting for us, like, why would that not be possible? And I agree with you, if you're really bringing forward for me, the sense of how the colonial system even used archaeology as a tendril to keep us controlled and in bay and to lessen the humanity of, you know, Indigenous peoples from all over the world.Paulette:Yeah, archaeology is the handmaiden to the nation state and they only produce stories that the nation state would approve of that made it safe for the nation state. Right. And it's like when you look at areas in in Mexico and in Central America, and they call people in Mestitzo and Latino, those are names. That's how you erase Indigenous identity. Right? Those people now are learning to speak out and reclaim their Indigenous identities. You know, they're not Mestitzo, they're not Latino. They're Indigenous communities had names had identities. But the nation state and archaeologists assisted them in this erases many Indigenous identities as they can, if you read a lot of archaeological stories oh the people disappeared, or there was a huge community there were 1000s, or they mysteriously disappeared, people don’t mysteriously disappear. They move, right, they migrate. Whoa. So when we,Patty:we, we traveled in the American Southwest a number of years ago, we went to Mesa Verde, beautiful site, we were we'd gone to go look at the cliff dwellings and our guide was the Navajo Ute, man. And, you know, he's showing us around, and he's showing us this one Cliff dwelling, and he says, you know, people lived here 1000, you know, 1000 years ago. And, you know, and he's going on about how they vanished. And it was so mysterious, and everybody's just really soaking this up, right, this great mystery of Where did these people go? Civilization that just vanished. And then he breaks character and says, Have you ever been to Detroit? people move. Yeah.Paulette:I did a I did an article on Mesa Verde. And got to go there and experience it. And yeah, people move, floods come droughts happen, people pick up and move, they don't mysteriously disappear. But that's how archaeologists erase us. And so what one of the kind of unspoken goals of archaeology is to cleave connections between ancient sites and ancient people and contemporary people, right. So they won't let anybody reclaim human remains older than 2000 or 2500 years because you can't prove they're yours?Well, you know what? as an undergraduate, the Quapaw tribe came and asked me if I could help them. So they were trying to reclaim over 500 ancestors, from their very well known towns, Quapaw towns that were along the western side of the Mississippi River. Right, so archaeologists know, these are Quapaw towns, they know the remains came from that area. But they were using a loophole in the Native American Graves Repatriation Act to not return those remains to the Quapaw. And there were a lot of elders that were maybe in their last years, and they would just be in tears when I met with them, they really wanted to rebury their ancestors. So I was only an undergraduate student, we didn't have a DNA lab there. But when they asked me, I realized we could do this. And I got one of the top DNA labs in the US to work with me. And we extracted a Quapaw DNA from a couple of elders, so we had something to match to those ancient remains. When I announced that I was successful in getting modern Quapaw DNA, then museums pretty much immediately gave the 500 ancestors back to the Quapaw. And two weeks after that results, they were re-buried. So the museums and universities knew that these human remains were Quapaw. And they knew they'd be really embarrassed if I brought it out and proved that they were withholding them. You know, and I showed that they were linked through DNA.So one thing I learned from that is that we can use those tools, those scientific tools to support communities, right. And that was kind of a turning point, I was headed for med school. And that was a turning point that headed me to archeology instead.Kerry:Thank you for sharing that. I think that's so important and riveting, because I know that the African continent, so many of the countries in Africa are starting to, you know, knock on some of those museum doors, and are claiming back their ancient artifacts as well. And it's been so interesting to hear like the Smithsonian, for example. My understanding is they have 1000s and 1000s. of stolen, you know, goods, merchandise artifacts, you know, ancient tribal, you know, heirlooms that they have taken and they're just sitting in boxes in a warehouse somewhere. And what came to mind even is the remains of you know, Sarah, Sarah Baartman, the Hottentot Venus, that African woman who they had encapsulated all of her human remains and it took them what's it 19 It was in the 90s, I think before they actually returned her back to her native land. And so, once again, I did not realize there could you explain a little bit you caught me there. Explain a little bit about this. This, you know, loophole legislation that exists where any you can't claim remains that are 2500 years older, then could you can you speak a little bit about thatPaulette:You have a lot of archaeologists who are very vested in those policies. And so it's it's, there's a there's a law in the States came in in 1990, I think called NAGPRA, Native American Graves and Repatriation Act. So that required archaeologists, museums, to create lists of everything they own, including the Smithsonian, all these museums, everything right. And to to put make those lists public so that if Indigenous communities wanted to reclaim human remains, or affiliated spiritual artifacts, they could start that process. So as soon as that law came in, a lot of archaeologists in museums that are looking for loopholes to deny that right, so like I said, that was capital, they were sitting on millions and millions and millions of dollars of capital that got 1000s and 1000s, and 1000s of archaeologists their degrees. Right. And they did not want to give it back.Oh, my God, there was some a hateful, hateful talk going on, in the Society for American archaeology. Right. And they were supposed to have this done within I think it was 10 years. And you know, we're, we're couple decades past when they were supposed to have it done. And there's a lot of them are still denying returning artifacts and, and ceremonial, sacred artifacts and human remains, because that's their capital. So, tribes pushed for that law, we wouldn't have that law, a lot of tribes hadn't pushed for it, and example of how they treated us differently. There was a road being built in an area of the northeastern United States, and they hit a bunch of burials, they hit a historic burial site. And they took all the remains from that the settler remains and the African American remains were re buried in a new cemetery. The Native Americans were sent to a museum. And that really, really angered some Native Americans. And they began to push for laws, so that our, our ancestors, our artifacts, our remains were treated the same as everybody else's.So there is that law in place. It does have loopholes that people try to use. And communities like the Quapaw said, you know, what, watch us, we're gonna, we're going to take care of this. And then they came and found me I was only an undergrad student at the time, I had to quickly learn a lot. I had to apply for grant for an honors thesis. But we were successful in doing that. And I got to work with the Quapaw NAGPRA Office for two years. So I got a lot of training in that area, seeing what they faced. And that ended up having to be the mediator in meetings between the museums and the tribe because there was so much aggression coming from, from the museums, right.PattyThere was another highway that was built in California that found a bunch of bones.Paulette:Every highway they build there finds bones.Patty Krawec  38:31The one, was there were Mastodon bones ..Paulette:That's the Cerutti site. It was called the Highway 54 site. So when in California, highway five goes up the coast of highway 15, goes up the interior and goes around and coastal mountains. And just north of San Diego, they wanted to join those two highways, they wanted to make a connector highway. So when they cleared that it wasn't that long ago, it wasn't 15 or 20 miles I forget, it wasn't that long of a highway, but they found over 114 archaeological sites. And one of the sites they found they hit this big mammoth tusk and it was standing straight up and down. So the archaeologist had them stop. The specialist came in and started looking at this area and they said, these bones are not disarticulated like they should be. So if this mammoth had died, his bones would kind of be scattered here and there but they weren't. There was two femur heads over here, there was a tusk vertically straight up and down on the ground. There were signs of what we call spiral fracturing.So mammoth bone is so big that even an ancient short faced bear couldn't bite it and break it right. The only way to break a mammoth femur would have been to take a big boulder and smash it. So we know that early people liked the marrow. They like the bone for making tools in the marrow was highly nutritious, right? So we know that there is a body of science that shows how people broke the bone and that bone when it's broken by humans, fractures spirally. And we can tell by looking at the bone if it was broken when the animal was alive or when he just died, or if it was broken later. So is it a green break when he you know when he's living? Or is it a later break?So Um Dr. Steve Holen, who was the head archaeologist at the Denver Museum of Nature and Science. He retired, I actually got to do my fieldwork with him on Pleistocene sites in the Great Plains. So I worked on mammoth sites with camelid bone, rhinoceros bone, like just amazing, amazing sites. So Dr. Holen, and another team of scientists that, you know, a huge team of scientists, they knew that if they claimed that this site was a human site, and they thought at the time that was over 200,000 years old, that they would just laughed out of the business, they just be slaughtered. So they waited they that was beautifully curated at the Museum of Man in San Diego. And they waited till technology and dating got to a place that could not be questioned. And then they had those bones dated, and they dated to over 130,000 years. So they finally published that. So I studied that for my dissertation, that collection from that site, they published on this in 2017. And there was an immediate firestorm of ridicule, immediately. But they were absolutely convinced this was human workmanship on this bone. The site was not in an area where the water didn't put those boulders or bones there, it was not in the water at what we call fluvial area.Some archaeologists have supported them. So that's like, within that area. We have some other sites. Louis Leakey, who was the famous paleontologist from Africa, right found a lot of the earliest humans, the man knows what he's doing when he's looking at stone tools and bones. He came in and worked on the Calico site, just north of that area in southern California. He said that site was over 200,000 years old. What did the archaeologists in America say? Oh, he's just a crazy old man who's cheating on his wife. Right? Immediately start bad mouthing him, calling him a crazy old man. Because he said this site was over 200,000 years old, I believe him.Right, there's a few other archaeologists that believe him, south of that area in central Mexico, around this reservoir, there have been four or five sites that have been dated to over 200,000 years. So we have what we call a regional area with not one site, but a bunch of sites that date between 100,000 and over 200,000 years. And but you know, if you talk about them, you're just crazy. When when I first got a hold of Dr. Holen, and I was asking him about older sites, he said, Don't tell anybody what you're studying, they're just gonna call you crazy. But you know, if it's gonna be your dissertation, you kind of got to talk about it. So I actually after initially talking to him, and he told me about 10 sites, I started reading about those sites. And every time you read a paper, you find about another site or another site. Well, in two weeks, I had over 500 sites, and I went, you know what, this is insane. The whole story, the whole Clovis first story is based on conjecture, every piece of it now has been proven to be wrong, incorrect, and not based on scientific data.People were here way before, way before, if you got people, I worked on the [intelligible] site in Nebraska, that dates to 22,000 years before present. If people were here, 22,000 years ago, you got to back up and go, How long before that did they have to get here? And then you start seeing all these other sites that date to 5060 100,000 years? That makes sense, right? We see a pattern, but saying that people got here 12,000 years ago, and in 500 years, they went all the way from Alaska to the southern tip of South America and east to west to the Amazon. No, humans didn't move that fast. They would have needed jets. HelloPatty Krawec  44:08And then there's also the matter of the languages that you brought up, it takes time for languages to evolve and split and become new languages. You know, I've read you know, The Horse, The Wheel and Language, which is you know, fascinating story about the Steppes and the development of the horse and wheel and language. You know, and he, they talk about how much time it takes just to branch off and evolve.Paulette[unintelligible] said it takes minimally 6000 years, even within the same family tree for a new language in that family tree to be, it takes 6000 years, right? So if you look at the Americas, and we've only been here 12,000 years, we should have the smallest number of languages. There shouldn't be very few, right? I think Europe only has between four and nine, depending on who you talk to, but the Americas, California alone has 15 different language families, the Americas has about 180 to 320 language families in the world more than anywhere in the world, that tells you that people had to be here longer than anywhere else in the world. So maybe there's something in that science of timing languages or whatever that is. Right. But when you look at a continental area, hemispheric area that has more languages than the rest of the world put together, you got to realize people been there a very long time for those languages to develop. Students are not taught that either.Patty:Or not taught put those things together. Right.. You know, I just I want to switch gears a little bit because I'm just mindful of the time. You coined a phrase in your book that you know, as an Anishinaabeg person just fascinated me and I wanted,  pyro epistemology, Could you talk about that? Because that was just so such an interesting idea, particularly to me, because we have eight fires, right?Paulette:Yeah, well, that came to me in graduate school. So I've been reading about the seven fires, and you know, how we're coming into the aid fire. And, and I know, because I've done this, I learned how to do when I was younger, and we use fire to clean land. Right, so So forest areas get really choked up, they get a lot of underbrush, and the new baby trees, you know, can't get up and get the sunlight. So, Indigenous people to keep the land healthy would do controlled burns, right, they would cleanse the land, and that allows that new life, good life to grow and to come up and to get the sun. And somehow it just hit me that this is what we need to do with all of these horrifying, dehumanizing discussions and books, we need to burn them. Right. And we need to make space for new discussions of Indigenous people to come up and grow up in academia, that will really bring a healthy life and healthy thoughts to people.So epistemology is how we learn the truth or how we learn what we learn. So I thought, we need to fire epistemology, we need to clean the academic landscape of all these dehumanizing talks, all of this settler, white Eurocentric view of Indigenous people, we need Indigenous people and their informed peers to rewrite our histories. And those histories need to be informed by Indigenous knowledge or traditions. You know, stories in the land, rock art sites, there's so much beautiful, beautiful data that that could be recorded.The problem for most non Indigenous scholars is that our languages and our stories are very, very advanced. They're very intricate, they're far too advanced for those white scholars to understand, nevermind that they don't understand the language, right? They cannot understand how we spoke in metaphors. If I told you, oh, there's a black and brown deer over there. In 10 days, you're gonna forget it. If I told you. There's this amazing four legged creature with this beautiful coat that is red and brown and silver and white. And I colored this story with all these metaphors, you would never forget it. And that those are oral, I get goosebumps. Those are oral traditions, right? They were, their language and thought and the power of their intelligence was so much greater, that you can't give that story to a non Indigenous scholar because they would never be able to decipher it or understand it.It's hard for me I had to translate stories from another language I had to translate from another language for my, my PhD. And so when I did a masters, I found these articles that were written in French, the French men were going down the Mississippi River and they wrote that they were afraid that the Indian stories would be lost because they were all being killed. So they stayed long enough to write some of their stories and they took them back to France. And they stayed there in a museum for over 100 and something years. I just got lucky and found where they had just been digitized and put online and I chose one. It was difficult for me. It was easy to translate the French but then I had to sit with those words. And go what is the story they were telling me and the story was it was a man who was teaching his daughters proper safe, ethical protocols for where they I lived at the time. But I realized, you know, it's this difficult for me. And I have to really dig deep into my spirit and listen to their voices. How could someone who's not Indigenous do that? They can't, right?Kerry:Oh, there this is such a juicy, amazing conversation I really, oh, oh, Paulette, you are just making my soul sing. I really enjoy, when, you know, we get guests on which all of our guests are, but that can just break this down into that soul place. And that's what I feel like you're doing when you are, are telling us and giving us this knowledge. It's it's literally about shattering the fabric of what we have created, or what the colonial system has said we must be. And so are you finding that it's starting to you know, are the cracks real? Are we, are you beginning to chip away? And feeling that ripple effect of chips are getting, the chunks are getting a little bit bigger?Paulette:Yeah. And and I'm starting to see now that more archaeologists are reaching out to me with their stories about older sites and how they've been denied. And they're getting bolder and braver. They're feeling safer now in publishing on sites that are older than 12,000 years. So we're starting that fire, right. And every time I write something, I'm just flicking my bic and just lighting that fire. Because the only way we're going to re humanize our history and revive and reclaim our history is to burn that history that this group of white people said we had to have. Right.And and that begs the question, Who has the right to tell history? Who owns the right to tell the story for someone else? Nobody. The people who own that history, have the right to tell their history. And they don't have to tell it in the way that you say, right. And, you know, people that know me, were really afraid Dr. Holen was terrified for the critique I'd face when my book came out. There hasn't been one peep of critique, not one.  I have gotten really good feedback. Archaeologists like Ruth Graham, she actually worked in the field for decades. And she did publish on older sites. She got a hold of me through a friend last week so that she can make sure she attends my seminar with the Peabody tomorrow, right? Archaeologists are now talking, I've gotten emails that people are just thanking me for telling the truth, because it makes the field a safer place for them. Right?I'm sure they will come a point when some really angry archaeologists who, actually you see them at conferences, and you bring the subject up and they get screaming and shaking, they get really angry, you know, and I'm just like, what's your issue? This is what we're, we're archaeologists, right. But when it comes to the Americas, they want that to stay in a box, if you look at the rest of the world, human history in the last 20 years has completely changed because of the work that people have doing, because tech technology supports it. And we should not expect that it won't change just because it's our homeland and territories, of course, it's going to change.And you know, they found a new site off of Vancouver Island that dates to over 14,000 years. They're publishing on it. So now I'm seeing more and more people publishing and publicly discussing on older sites since I started talking about this and writing about it in 2015, right when I got my PhD. And so I think we're starting to see cracks, I think people are starting to open their mind. And they're reading my book and going this makes sense. So in my book, The Indigenous Paleolithic of the Western Hemisphere, I reclaim over 120,000 years of our history, and I do it using those Western tools and the Indigenous tools. I use archaeology, I use science, I use data collection, I use oral traditions, you know, I understand, I use mammalian evolution, mammilian migrations I use paleo environmentalism, I use paleo geography. And I show that people being here before 100,000 years make sense. People not getting here to 12,000 years it makes no sense at all. It never has. And I have people saying that to me that you know, I always said that and never really made sense. But I didn't know how, you know, well now, you know, get my book and you know how to make it make sense that we've been here much longer.Patty Krawec  55:10Mm hmm.So what is the best place for people to buy your book? I just there was a question in the chat.Paulette:Yeah. So people can buy my book from the publisher, University of Nebraska Press, any of the bookstores, it's available on pretty much every bookstore online, Amazon, Walmart, you know, every every bookstore has my book available. It's in production, audio version is in production, I can't wait to hear it. I want to hear the voice who, a professional voice person. Yeah, and then if other people are interested, I'm starting to think now to where we need to get it done on some other languages, you know, like Spanish, and maybe some Asian languages and Middle Eastern languages, because archaeology is a global field. And Human Evolution is a global field. And, and I do believe that North America has a very good place in human evolution, specifically, since we know that the earliest primates were from the Americas. And so if we look at that, and we go, Well, how did they find out to the rest of the world? And when were people coming and going? And you know, they Yes, yes, early humans evolved in Africa. But they left there  look, they were in Northern Asia over 2 million years ago. So hello.They wander? Yeah. It's, it's a global thing. And so North America plays a part in that. You know, it's it's important. And people in countries are very proud people in Africa are very proud that humans evolved there. People in you know, Germany and other areas are very proud of what's their earliest archaeology site? What's the earliest tools, right? Why should North America be left out of that? Because we do have a history based on Indigenous knowledge and archaeological knowledge that goes back over probably 200,000 years, at least, if not earlier, people haven't looked for it. They weren't supposed to look for it. It was very dangerous to look for it. It was dangerous to discuss it. The few people that did left some very valuable clues for me that a lot of early sites were very, very deep. And so I'm starting to think now where would we look for early sites? Where have they previously been found? There was a skullcap found in South America that had heavy heavy brow ridges that looked really like a Neanderthal brow ridges would look right. Of course, that disappeared, but not before they were pictures, and a discussion of it published.KerrySo really, do you know when that was, when was that published? You know how long itPaulette:was a long, long time ago? Okay. Long, long time ago. Yeah, it wasn't recent. So we need to look at, you know, gather all that evidence, gather all those pieces and start really looking at those sites, with an open mind with a very open mind as to the science of the data. And not with this constraint that a bunch of all white archaeologists in the Americas put that is not even supported by any data or science.Kerry:Wow, I am, I am absolutely riveted. I would love like, we always say this, but I'd love to have you come back on and to go a little bit deeper in because for what's coming up for me as even I was reading a study, or an article recently that was talking about the Amazon. And as they're doing, you know, the, the burning of the Amazon and clearing the land, they're actually doing I think it's I'm not sure what the technique is, but they're offering UV or they're doing infrared, that LIDAR that's scanning, and they're realizing that there might be older civilizations that were actually overgrown by the forests. And so there's a whole worldsWhat I think I love so much about you Paulette and the work that you're doing is that you're you're literally just you know, you're taking a sledgehammer to this idea of the history of the world. And I believe it anchoring for those of us who have been so displaced in the story. It gives us an opportunity to reclaim this truth, to to recreate I loved when you said, you know, who decides who creates history? I think that is such a powerful thing, because what you're doing is allowing us this truth to question what we've been told as the narrative and decide what pieces of it we're going to choose, if any at all. And I think it's so important that we continue these conversations that we keep the digging, the digging going, that we offer ourselves the spaces of truth. I'm just so impressed. with what you've done your workPaulette:The more people that will discuss it and realize the absurdity that people were only here 12,000 years ago, the more we open up the possibility. So to do work to do archaeological, you need funding. Can you imagine applying for grant to excavate a site that might be 80 to 120,000 years old, they just, they're crazy, right? We have to normalize that discussion. And so I'm really hoping I'm doing that for the next generation of archaeologists, that they'll be able to be funded. And I, you know, in the back of my mind, I just see this big field of have young archaeologists coming out and looking at the 100,000 year old sites in the Americas, because now it's acceptable, and they can get funded.And so we really need to normalize this discussion and to show how absurd that the archaeological story of people, Clovis first people, that's another thing, right? They said the Clovis first people, right? So I found a book. If you look in a library and you find cultural books, you got the Choctaw, the Chickasaw, the Cherokee, the Clovis people, the Clovis people were never a people except in the wildest imagination of archaeological mind. There is nowhere in the world, a cultural group, the size of a hemisphere, cultural groups are small. So they so they frame that also to erase the diversity of early Indigenous people. Right? So there's so much that we need to normalize that I like what you said, I kind of think I'm like, I'm like the bull in the china shop of archaeology. And I'm just kicking the hell out of itKerry:I love it. Oh, yes.Patty:And I particularly like even the title of your book, the Indigenous Paleolithic of the Western Hemisphere, because that's something that we have talked about quite a bit on this podcast is the way the word Indigenous is used, particularly in Canada, to refer very specifically to this place Indigenous people live in North America.Paulette:That's, that was an intentional bit of humor on my part. So, us Indians, we have a way of silently kind of getting back in a humorous way and other people. So when I was a grad student, I had this great title decolonizing Indigenous history. And I talked about it and I used it in papers and a professor before I graduated, used that title for her all white scholar book, right? And I'm like, well, there goes my title. And so I thought about it for a while. And you know, there's always been a denial that that there ever was an Indigenous Paleolithic. So that's their big, it never exist, it never existed. So I'm like, How do I poke those guys? How do I poke those people that deny it? I call it the Indigenous Paleolithic of the western hemisphere. So paleo is not our word. That's not how we recognize our history. But I needed to have, you know, I wanted to have a strong title that really pushed back against that racism, that there was never an Indigenous Paleolithic. And I'm like, watch me. Indigenous Paleolithic. That's my humor, like, watching me. Getting back at angry old  archaeologists.Kerry Goring  1:03:19Right, I enjoy you so much, Paula, you are just exactly what we what we talk about on this show. It is that Reclamation, you have stood up in your way. And just created true medicine, like this is true medicine that feeds the soul of I think I Indigenous people, absolutely. But as somebody who is an ally, as a person of color, who's also, you know, can can understand this idea of the displacement, you fed my soul as well, because I knew that as I followed, you know, Black archaeologists and same ideas, they're saying the exact same thing and our voices have not been able to shine through and be heard. So to hear that you have managed to, you know, be the bull in the china shop, and you're definitely breaking some teacups, and getting to sip tea at this one. I think it is fabulous. And I really love that we got a chance to have this conversation. And let me tell you, I just bought your book, as we've been speaking is it is definitely going to be here. I can't wait to read it.Paulette:It is it is medicine to reclaim your history right and reclaim your right to rewrite and retell your history and to tell the truth, that is a part of healing and reconciliation. So briefly, I'll tell you, I met with an elder in 1988 in Lillooet British Columbia where I grew up. And then I was going through a very difficult time separating single parents, three kids, blah, blah, blah. And he said, This is training. He said, the elders have talked about you. And we understand that you have a job to do in the future. That's gonna be really, really hard a lot harder than this. Well, at the time, there was a single parent, three kids greater education. 26 cents and a truck, what could possibly be harder, I had no clue. But his words went to my heart. And I never forgot what he said. And coming close to my graduation, I realized, Oh, my God, this is what he meant. I just have to rewrite World History. Okay, I think, right. But he said creator raised me for this from the time I was born. And that's a whole nother story. But he was right. I'm fiercely independent. I didn't know any other way as a child. That was how I survived. And that was how I had to be in grad school. Because I faced a lot of racism, people tried to push me out in so many ways, professors, students, I faced a lot of more aggressive racism in grad school than I faced anywhere in my life, I had to be fiercely independent and strong and think for myself. And so you know, my elder was right. And they knew they knew I had this job to do. And they were right, it was much harder. But I got it done. And it's not done. Now, I'm going past the 130,000 years and saying, why couldn't we have been here, just as long as people were in Northern Asia.Kerry:I love it. I love it, that you are a force to be reckoned with. And I'm here, I am here for all of it. Definitely, I'm glad that you got a chance to tell us about your book, tell us where they can find you. Anybody who wants to because I also need to definitely be following you.Paulette:People can look me up Paulette Steeves, I'm on Facebook, I have a Research website online, I'm on Twitter, you can find me at Algoma University paulette.steeves@algomau.ca, you can email me  My book, The Indigenous Paleolithic of the Western Hemisphere is in all online bookstores. And so I'm starting to get more of a I'm trying to keep up to having a social media presence like I'm in a few places, but I'm so busy with writing and doing everything else. And I still have to teach. I am a Canada Research Chair. That's a very kind of prestigious position here in Canada where I get a huge chunk of funding for five years. And I only have to teach two courses a year. That gives me more time for writing and research. So I like I say I'm starting to work on that second piece of this. And I have three, four book chapters that will be coming out next year and two the following year one, one on Vine Deloria Jr. So that's probably the nicest comment I've gotten from someone who read my book, another archaeologist and an Indigenous archaeologist who said I write in the vein of Vine Deloria Jr. and I was just like, Oh, my life is made I can finish now.  Patty:Well, I mean, I'm what I really, I think what what I didn't, what I didn't expect, but it didn't surprise me at all was your ferocity regarding the nation state and colonial and capitalism's investment in the way that the story is currently being told. Because I mean, that's I mean, that's practically every conversation Kerry and I have is. Why is this terrible thing happening? Well, the nation state and it’s investment in capitalism.Paulette:Yeah, it took a long time to pull that together. But there's a lot of really good published discussions within Archaeologists from Latin America, South America and other ones that are more open minded. They realize the politics of the past and how it plays into the present and how it disenfranchises you know, Indigenous people, they take all of our artifacts, and they put them in a museum and they remove them from their cultural place and their cultural stories. And they give them new stories that are safe for the nation state. Oh, look what we found because they disappeared. Hello, we're right over here. Hello.Patty:We didn't take care of them that keeping the eye we didn't say anything so that they can take care of them for us keep them say yes, because we don't know how to do that.Paulette:yeah. Oh my god. Yeah, a lot of you know, I owe a debt to a lot of really good scholars that have discussed that and talked about that. And, and it's really important for students and people to understand that that kind of control has been over us forever. And we need to reclaim our right to tell our own stories in our own way. And, you know, be able to have them thank thank you to the University of Nebraska Press. They asked me for this book, like almost immediately when they heard about my research and my dissertation, and they waited a long time. There's a lot of data. And because it was, might face severe scrutiny and critique, I had to be so careful that there was no mistakes anywhere. And, you know, I finally just sat down and said, the Indigenous way is to tell a story. So I'm going to start telling this story. And it took me from 2015 Till this year to do that. SoPatty:well, I am so glad that it came across my Twitter feed. And then really surprised when I went looking for you that you are already following me. So I'm so glad that you came across my Twitter feed, we've got a couple of more really neat conversations in this vein coming up. We're going to be talking with Dr. Keolu Fox, we're actually we're taking a break. Next week, we're not going to be here, I'm out of town. But then, so but then the week after we're gonna be talking with Dr. Keolu Fox about how the land is our ancestor. He's a genomic researcher. So it's going to touch on some of the things that you brought up regarding genomics and our and our place here. And then we've got Dr. Deondre Smiles, who's going to be talking with us about Indigenous geographies? So again, you know, some of this, you know, kind of some of the things that you talked about more into our present. So this is kind of a really neat trilogy.Paulette:Yeah, I just worked with Deondre as a collaborator on on some research I'm doing because he's a sort of just graduated as a junior faculty, and I've met him before. And you know, what the genetics of geneticists say that, you know, we're all Asians, and we're related to Asian, they have less than 1/10 of 1% of the data that would say what, you know who we really are and how we're all related. They can't even say that. Yeah, right. I called the Max Planck lab, and I emailed a guy and I said, is it still? Do they still have less than 1/10? Of 1%? Yes. They don't have the data. So they can't make those stupid, crazy. claimsPatty:yeah, so I'm pretty excited to talk with Dr. Fox  Because he's really a different, a different, a much different way of talking about and thinking about genomics.Kerry:Yeah, I was gonna say, What a delicious space guys for as we turn history, anatomy, you know, you name it, we're gonna be turning it on its head. Yeah. And I'm here for all of it. I hope you all will be too.Paulette:Thank you for having me.1:13:06Thank you for having me.Kerry:I really would love for us to maybe get everybody back on. Wouldn't it be interestingPatty:panel would be fun. Having all three of you at the same time. Something to think about for the news of the day plan for the new year. Get our January going?Paulette:Wow, what a good start to the new year. That would bePatty:amazing. All right. Just put all three in a room and see what happens. Right. Right. So thank you guys so much. Thank you for listening. We did have some people in the chat. So that was fun today. Um, I will talk to you guys later. Right. Thanks. Bye. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit medicinefortheresistance.substack.com

After learning more about Dr. Kvist's background (01:54), the guys dive into the leeching process (12:06), Dr. Kvist's current research (21:01), and the affects of climate change on leeches (29:33). Then they reflect on life lessons derived from leeches (33:23) and the ethics of leech farming (40:51) before hearing about Dr. Kvist's favorite leechy films (45:57). We're always looking to expand our pond -- please reach out!Series URL: www.theleechpodcast.comPublic email contact: theleechpodcast@gmail.comSocial Media:@leechpodcast on Twittertheleechpodcast on InstagramExternal Links:Dr. Kvist's website [HERE]; Social Media: @sebastian_kvist on Twitter, @sebastian.kvist on IGRoyal Ontario Museum website [HERE]Credits:Hosted by Evan Cate, Banks Clark, and Aaron JonesEditing by Evan CateGraphic design by Banks ClarkOriginal music by Justin Klump of Podcast Sound and MusicProduction help by Lisa Gray of Sound Mind ProductionsEquipment help from Topher Thomas

Changing Narratives with Amanta ScottPlease note: this episode contains mature themes, including references to sexual violence, and may not be appropriate for all listeners.Today we welcome Canadian multidisciplinary artist Amanta Scott. Amanta explores the relevance of  archetypes, symbols and perceptions as they relate to problematic issues in our society today. Her work encompasses encaustic paintings, interactive sculpture, installations, audio, video, photography, music, dance, performance, and workshops. She loves to create dialogue between people of diverse cultures, ages and abilities. Amanta is passionate about changing the way we view women in art,  and is working to change the narrative of normalization of abuse, voyeurism, rape, sex trafficking, racism, and femicide. She is replacing those stories with ones celebrating strong women and normalizing  respect, empowerment, self actualization, and friendship.  Our conversation includes:- Amanta's background and current project, Eyeing Medusa  -  Creating and working in virtual galleries, and interactivity in her art  - The "Food for Thought" section on www.amantascott.com - The story of what triggered the Eyeing Medusa project -  How we must consider the impact on society today when retelling old stories -  Go after what you don't know! And Create a climate of curiosity in yourself -  The importance of looking outside the familiarAmanta Scott's Bio: An Ontario-based Canadian multidisciplinary artist, I have exhibited and performed in art galleries, museums, theatres, concert venues and festivals throughout Asia, North America and Europe including: National Gallery of Canada; Royal Ontario Museum; Singapore International Arts Festival; Canadian Embassy in Tokyo, Japan; World Trade Centre, Barcelona; Yilan Arts Center, Taiwan; Edmonton Art Gallery; Art Gallery of Algoma; Thunder Bay Art Gallery; Art Gallery of Peterborough; and Art Gallery of Ontario. I have designed and directed workshops for marginalized youth, seniors, refugees, newcomers, and students from primary school to university. My paintings and sculptures are in collections across Canada and Asia.Amanta's website: https://www.amantascott.com/Eyeing Medusa   https://www.amantascott.com/eyeing-medusaFood for Thought: https://www.amantascott.com/food-for-thoughtFacebook: https://www.facebook.com/AmantaScott.arts/Instagram: https://www.instagram.com/amantascott/YouTube: https://www.youtube.com/channel/UCnbtBH71poFBZNCCetjoc2ALinkedIn: https://www.linkedin.com/in/amanta-scottPinterest: https://www.pinterest.com/amantascott/Connect with Story and HorseFacebook: @storyandhorseInstagram: @storyandhorseSign up for our newsletter the Weekly Canter and receive creative resources and inspirations direct to your inbox: https://storyandhorse.ck.page/weeklycanterWebsite: www.storyandhorse.comPodcast: www.thestoryandhorsepodcast.com Support the show