Podcast appearances and mentions of Terra nullius

Explore space, time, and technology in science fiction through indigenous lenses with award-winning author Dr Gina Cole (Black Ice Matter; Na Viro) and writer, critic and producer, Dan Taipua. Dr. Gina Cole is an award-winning author of Fijian, Scottish and Welsh descent. Her collection Black Ice Matter won the Hubert Church Prize for Best First Book Fiction in 2017. Her science fiction fantasy novel Na Viro (Huia, 2022) is a work of Pasifikafuturism following sisters wayfinding through sea and space. Awarded the 2023 Fulbright-Creative New Zealand Pacific Writer's Residency in 2023, she is currently working on the second book in her Turukawa Trilogy. Dan Taipua (Waikato-Tainui) is a writer and critic working in Tāmaki Makaurau. His interests cross through art history, popular culture and Te Ao Māori with a particular focus on futurism and imagined worlds. In 2015, Dan Taipua and Sophie Wilson produced the documentary Aotearoa Futurism for RNZ Music, interviewing Māori and Pasifika artists whose works explore the boundaries of technology and time. This work has inspired further study of indigenous futurisms by scholars and creators alike and continues to shape Taipua's own critical practice. This talk is in association with our sci-fi exhibition 'Other Worlds' and the 'Tāmaki Untold' series. Exhibition is open from 19 February to 2 August 2025 in the Heritage Gallery, Level 2, Central City Library / Tāmaki Pātaka Kōrero. Explore selected works by Dr Gina Cole and Dan Taipua along with some of the books, authors and works mentioned in this episode – all available either at Auckland Council Libraries or online. Na Viro by Gina Cole. Huia Publishers, 2022 Wayfinding Pasifikafuturism : an indigenous science fiction vision of the ocean in space : a thesis by Gina Cole. Massey University, Manawatu, New Zealand, 2020 https://mro.massey.ac.nz/items/21b05630-28b2-4d93-85e9-f7156be8f0d9 Aotearoa Futurism Part One: Space Maori and Astronesians - podcast by Dan Taipua and Sophie Wilson, RNZ Music, 2015 https://www.rnz.co.nz/national/programmes/nat-music/audio/201782605/aotearoa-futurism-part-one Aotearoa Futurism Part Two: South Pacific Futurists podcast by Dan Taipua and Sophie Wilson, RNZ Music, 2015 Remains to be Told: Dark Tales from Aotearoa edited by Lee Murray. Clan Destine Press, 2023 Walking the Stars: An Anthology of Indigenous Science Fiction edited by Grace Dillon Star Waka by Robert Sullivan Auckland University Press, 1999 The Routledge Book of CoFuturisms edited by Taryne Jade Taylor, Isiah Lavender III, Grace L. Dillon and Bodhisattva Chattopadhyay. 1st edition, 2023. Full text available via Open Access with Taylor and Francis under Creative Commons CC BY-NC-ND. How To Loiter in a Turf War by Coco Solid. Penguin Random House NZ, 2022 Island Time: South Pacific Futurism From a Contemporary Aotearoa Perspective by Jessica “Coco” Hansell published in The Funambulist, Issue 24: Futurisms, 2019 Navigator by Che Fu (Music CD) Sony, 2001 Lisa Reihana: Emissaries by Lisa Reihana. Auckland Art Gallery Toi o Tāmaki, 2017 Goddess Muscle by Dr Karlo Mila Huia Publishers, 2020 Waerea by Mokotron (Music LP). Stebbing Recording Studio, 2024 Terra Nullius by Claire G. Coleman. Hachette Australia, 2017 How Māui Defied the Goddess of Death by Peter Gossage. 3rd edition, Puffin Books, 2012 You Are Here by Peata Larkin and Whiti Hereaka. Massey University Press, 2025

The overturning of the legal doctrine of Terra Nullius (the land belonged to nobody) in 1992 by Australia's High Court led to the Native Title Act (1993) which established land rights for Australia's Indigenous peoples. We could learn from that historic decision globally and, particularly, in the dispossession of Palestinian peoples' lands who are Indigenous to the Israel/West Bank/Gaza regions. We can learn from facts, not religious fundamentalism, and that is why after all the death and destruction, there is hope that the current Gaza/Israel war will ultimately lead to a two-state solution.

The Frontier Wars is a term often used to describe the more than 100 years of violent conflicts between colonial settlers and the Indigenous peoples that occurred during the British settlement of Australia. Even though Australia honours its involvement in wars fought overseas, it is yet to acknowledge the struggle that made it the country it is today. - هغه وخت چې کپټان جیمز کوک په لومړي ځل د آسټرالیا پر خاوره پښه کېښوده، هغه دا پراخه ځمکه تیرا نولیوس (Terra Nullius) اعلان کړه، یعنې داسې ځمکه چې مالک نلري.

The Frontier Wars is a term often used to describe the more than 100 years of violent conflicts between colonial settlers and the Indigenous peoples that occurred during the British settlement of Australia. Even though Australia honours its involvement in wars fought overseas, it is yet to acknowledge the struggle that made it the country it is today. - هغه وخت چې کپټان جیمز کوک په لومړي ځل د آسټرالیا پر خاوره پښه کېښوده، هغه دا پراخه ځمکه تیرا نولیوس (Terra Nullius) اعلان کړه، یعنې داسې ځمکه چې مالک نلري.

Terra Nullius, la terra di nessuno. Così veniva definita una bella fetta dell'Africa quando andava occupata. Ed era la versione ufficiale. Ma ovviamente si trattava di fake news, perché l'Africa, così come tutte le colonie prima dell'arrivo dei coloni erano abitate eccome. Learn more about your ad choices. Visit megaphone.fm/adchoices

How do human civilization decide who owns what? It's a devilish, dangerous, and disturbing question absolutely riddled with conspiracy. In tonight's episode, Ben, Matt and Noel explore the concept of "terra nullius" -- the idea that, if you have the right flag and a solid army, you can just rock up to any place on Earth and call dibs. Tune in to learn how this conspiratorial concept came to be, why it's sometimes hilarious, and why it's mostly evil. Perhaps most importantly: What does "terra nullius" tell us about the future of exploration?They don't want you to read our book.: https://static.macmillan.com/static/fib/stuff-you-should-read/See omnystudio.com/listener for privacy information.

On peut penser que, la plupart du temps, un territoire donné doit appartenir à un État. Ce qui n'a pas empêché les juristes médiévaux de créer la notion de "terra nullius". Ce qui signifie à peu près "terre de personne" ou "territoire sans maître". Cette notion est sans rapport avec l'occupation du territoire en question. Ainsi, une "terra nullius" peut être habitée ou non. Ce concept a été intégré à la "doctrine de la découverte", un ensemble de théories et de principes qui, à partir du XVe siècle, permettent de justifier la prise de possession d'un territoire et servent donc de prétexte à la colonisation. Ainsi, pour les Européens de cette période, une terre habitée par un ou des peuples non chrétiens ou découverte par une nation non chrétienne peut être revendiquée, à la suite d'une occupation ou d'un débarquement sur ses rivages, par des explorateurs ou des militaires envoyés par un pays chrétien. Les actions entreprises au nom de cette "doctrine de la découverte" sont largement considérées, aujourd'hui, comme dénuées de fondement et condamnables d'un point de vue moral. Par ailleurs, la reconnaissance du droit des peuples à disposer d'eux-mêmes, qui a notamment présidé au remodelage de l'Empire austro-hongrois, à la fin de la Première Guerre mondiale, a amené à considérer que toute terre habitée par une population permanente ne peut plus être considérée comme une "terra nullius". Une telle dénomination, cependant, peut s'appliquer à un territoire inhabité ou peuplé d'une façon intermittente, et réclamé par aucun État. Des "terrae nullius" encore aujourd'hui Si l'on tient compte de cette nouvelle définition, on peut encore trouver des "terrae nullius" sur la carte du monde. C'est notamment le cas d'un territoire inhabité de l'Antarctique, la terre de Marie Byrd, qu'aucun pays ne revendique. Quant au reste du continent antarctique, sur lequel plusieurs pays ont des prétentions, il a été déclaré continent neutre jusqu'en 2040. Par ailleurs, un triangle désertique, entre l'Égypte et le Soudan, n'est réclamé, pour diverses raisons, par aucun des deux pays. On peut aussi le considérer comme une "terra nullius". Learn more about your ad choices. Visit megaphone.fm/adchoices

On peut penser que, la plupart du temps, un territoire donné doit appartenir à un État. Ce qui n'a pas empêché les juristes médiévaux de créer la notion de "terra nullius". Ce qui signifie à peu près "terre de personne" ou "territoire sans maître".Cette notion est sans rapport avec l'occupation du territoire en question. Ainsi, une "terra nullius" peut être habitée ou non.Ce concept a été intégré à la "doctrine de la découverte", un ensemble de théories et de principes qui, à partir du XVe siècle, permettent de justifier la prise de possession d'un territoire et servent donc de prétexte à la colonisation.Ainsi, pour les Européens de cette période, une terre habitée par un ou des peuples non chrétiens ou découverte par une nation non chrétienne peut être revendiquée, à la suite d'une occupation ou d'un débarquement sur ses rivages, par des explorateurs ou des militaires envoyés par un pays chrétien.Les actions entreprises au nom de cette "doctrine de la découverte" sont largement considérées, aujourd'hui, comme dénuées de fondement et condamnables d'un point de vue moral.Par ailleurs, la reconnaissance du droit des peuples à disposer d'eux-mêmes, qui a notamment présidé au remodelage de l'Empire austro-hongrois, à la fin de la Première Guerre mondiale, a amené à considérer que toute terre habitée par une population permanente ne peut plus être considérée comme une "terra nullius".Une telle dénomination, cependant, peut s'appliquer à un territoire inhabité ou peuplé d'une façon intermittente, et réclamé par aucun État.Des "terrae nullius" encore aujourd'huiSi l'on tient compte de cette nouvelle définition, on peut encore trouver des "terrae nullius" sur la carte du monde. C'est notamment le cas d'un territoire inhabité de l'Antarctique, la terre de Marie Byrd, qu'aucun pays ne revendique.Quant au reste du continent antarctique, sur lequel plusieurs pays ont des prétentions, il a été déclaré continent neutre jusqu'en 2040.Par ailleurs, un triangle désertique, entre l'Égypte et le Soudan, n'est réclamé, pour diverses raisons, par aucun des deux pays. On peut aussi le considérer comme une "terra nullius". Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

When Captain James Cook first arrived on the shores of what is now known as Australia, he declared this vast land as 'Terra Nullius', nobody's land. However, the island continent was home to hundreds of different Aboriginal and Torres Strait Islander nations and clans. - Когда капитан Джеймс Кук впервые прибыл на берега того, что сейчас известно как Австралия, он объявил эту землю Terra Nullius, то есть ничьей землей. На самом деле островной континент был домом для сотен различных наций и кланов Аборигенных людей и жителей островов Торресова пролива.

For two centuries, the British and then white Australians operated under a fallacy, that somehow Aboriginal people did not exist or have land rights before the first settlers arrived in 1788. - Terra Nullius, அதாவது இந்த மண்ணில் யாரும் குடியிருக்கவில்லை, என்று பிரித்தானியர்கள் பிரகடனப்படுத்தி, குடியேறி, பூர்வீக மக்களுக்கு நில உரிமை இல்லை என்று சட்டம் இயற்றி சுமார் 200 ஆண்டுகளுக்குப் பின்னர் அந்த சிந்தனைக்கு சவால் விட்ட Edward Koiki Mabo குறித்தும் பூர்வீக மக்களைப் பாதிக்கும் சட்டக் கூறுகள் எவை என்றும் நிகழ்ச்சி படைக்கிறார் குலசேகரம் சஞ்சயன்.

L'info qu'il faut - Aimons-nous plus les chiens ou les chats ? - Les jouets les plus populaires à travers le monde en 2023 : Le winner du jour : - Ses maux de tête étaient causés par des baguettes coincées dans son cerveau - Il demande en mariage sa compagne au rayon lingerie de Leclerc La chronique de Gabriel Francès Les savoirs inutile : Terra Nullius, les territoires qui n'appartiennent à aucun Etat Le devinez-quoi : quel est le film américain le plus souvent diffusé à la télévision française ? Les pourquoi de Max : "Y'a pas photo" Le bonus : les manchots à jugulaire font plus de 10 000 microsiestes par jour Le jeu surprise : Marilyn près de Lyon gagne une semaine de vacances en Résidence Lagrange La banque RTL2 :Alexandra près de Nice remporte 1500€ chez H&H. Audrey près de Roanne gagne une Nintendo Switch

This week's episode is an encore performance of the book club originally from June 2022 Claire G. Coleman is a Noongar writer, from Western Australia, now based in Naarm. Claire's debut novel is the award winning Terra Nullius as well as the author of The Old Lie and the acclaimed non-fiction book, Lies Damned Lies. Calire's third novel, the one I want to talk about today is Enclave. In the community of Safetown residents live a comfortable life, secure in the knowledge they are protected by the wall. Within that concrete edifice security patrol their streets and drones surveil the airway to ensure even the smallest transgression is met with swift consequences. Christine has spent her entire life basking in the comfort her fathers wealth and Safetown's security provide the daughter of an influential family. Sure her father is a distant figure, her mother a high functioning alcoholic, but they've just bought her an apartment and extended her a line of seeming unlimited credit. Safetown was built to protect families like Christine and she should be happy with this safety. Except her best friend Jack is missing and Christine has begun to notice her servants, people who don't look quite like her… I think the potency of Enclave will hit readers in different ways.  On a first pass, Enclave seems to have taken the worst of the days headlines: Trump's wall, fake islands in the South China Sea, almost sentient algorithms watching our online behaviors. Enclave has taken these ideas and extended them to their horrific conclusion. This can seem like a grossly distended version  of reality and may strike some as Escher-like, while to others it's a kind of dystopian porn.  Coleman sets us up in Safetown, allowing us to walk alongside Christine, but it is not with the sort of familiarity or sympathy we might expect from an anointed heroine/protagonist. At this point it would be easy to see Enclave as commentary on the wrong turn society took too-long ago and Christine as an exemplar of our own generation coming to the realisation we are on the wrong side of history. But this is Claire G Coleman and just as the reader starts to feel safe that they know where Christine's story is heading she pulls back the proverbial curtain. Fans of Claire's first novel Terra Nullius will know her ability to stage an about face that changes everything you thought you know about the story. Enclave is a dark tale of excess and the absolutely destructive path of privilege. It exposes racism by showing the absolute mundanity of the everyday actions that reinforce power. There were times as I read that I thought the book was moving too slow, not showing me anything I needed to see. But that was Claire lulling a reader like me, someone who's lived close enough to privilege to not see it, into believing that this world could exist. The horror she paints of a segregated society and rampant excess doesn't look terribly different to a real housewives episode and therein lies the power. Enclave is an absolute recommendation from me but beware. It's a story that has your expectations in its sights and knows that we don't change anything by maintaining the status quo…  Loved this review? You can get more books, writing and literary culture every week on the Final Draft Great Conversations podcast. Hear interviews with authors and discover your next favourite read! Book Club is produced and presented by Andrew Pople Want more great conversations with Australian authors? Discover this and many more conversations on Final Draft every week from 2ser. Get in touch with Andrew and Final Draft. We love to hear about what you're reading! Twitter - https://twitter.com/finaldraft2ser  Instagram - https://www.instagram.com/finaldraft2ser/  Facebook - https://www.facebook.com/finaldraft2ser/ 

How a conversation at James Cook University led to the most momentous decision in Australian legal history.Read the judgmentWatch the movie (only accessible via ABC iView in Australia)Read an interview with Mabo counsel, Ron CastanLearn more about the ANU College of Law here. Our thanks to the ANU College of Law Marketing and Communications team. ANU acknowledges and celebrates the First Australians on whose traditional lands we meet, and pays our respect to elders past and present. 

As new residents and citizens of Canada, it is so important for us to learn about and become allies for its Indigenous Peoples. First Nations, Inuit, and Métis Peoples have been living in what is now Canada for thousands of years, and they each have unique histories, languages, cultural practices, and spiritual beliefs.  We newcomers are now lucky enough to call this beautiful country our home - but we must remind ourselves that we are living on their land. In this episode, I'm joined by Danielle and Jamie-Leigh, who come to us from RAVEN Trust, a not-for-profit that raises legal defense funds to assist Indigenous Peoples. They also have a fantastic online video course called Home on Native Land that you can take for FREE to start your learning. In this episode, we discuss the history of colonization in Canada, including the definitions of Terra Nullius, the Doctrine of Discovery, and the Indian Act. We also speak about the common misconceptions about Indigenous peoples, as well as the ongoing conflict over broken treaties. I ask Danielle and Jamie-Leigh whether Indigenous Peoples welcome immigrants and refugees to Canada, as well as what they think about the term “Canadian”.  They also share some of the ways that newcomers to Canada can contribute to ongoing reconciliation efforts. __ In Canada, September 30 is The National Day for Truth and Reconciliation, or “Orange Shirt Day.” The day aims to raise awareness about the Indian Residential School System, where Indigenous children across Canada were ripped from their families, abused and thousands killed. It is also an opportunity to commit to the process of truth, justice, and reconciliation. You can learn more by clicking here. __ Links & Resources: Home on Native Land is a new, free online learning tool that is funny, honest, and accessible, providing a no-risk, comfortable way to understand Indigenous law, Canadian law, and their impact on the nation we call home. The series of 10 x 30-minute modules is the first public education initiative from RAVEN, an organization dedicated to supporting Indigenous rights. Join the New to Canada Academy: Learn more  Download my 50 free tips from newcomers to Canada: What they wish they knew before they moved! https://thenewcomercollective.com/canada-tips/  Follow me on Instagram: @TheNewcomerCollective  For more about us and what we do, check out our website: TheNewcomerCollective.com  

Australia is coming up to The Voice Referendum and apparently becoming more of a "divided nation" by the day. But why do First Nations people need a special mention in the constitution? Shouldn't the constitution cover them already? Have you ever tried to explain to someone what sexism is but they just can't see what you're saying? The sexism is so ingrained that it's invisible? What if racism is the same? That it's so deeply ingrained in our culture that we can't see it?  This is a hot topic in Australia at the moment: should our First Nations people have a say in policies and decisions that impact them? Isn't that like saying that it's necessary for women to be involved and consulted in the decisions and policies that impact women?  Yorta Yorta and Gunnai-Kurnai woman, Pamela Anderson, CEO of EMILY's List Australia, explains to us the history of First Nations people after colonisation, how trauma is passed down through the generations and talks about the systemic racism that most white people don't realise is present.   Timestamps: 02:06 - Introduction into Pamela's heritage & experiences as a First Nations person 05:26 - The impact & implications of "Terra Nullius" 14:47 - Issues with Australian Policy regarding First Nations people 16:35 - The Australian Constitution 20:09 - Why should our constitution specifically include First Nations people? 23:03 - Why would any First Nations people vote No? 23:57 - What is systemic racism? 33:13 - Why stolen generation is still happening 39:32 - Assimilation, trauma & substance abuse in First Nations communities     Find out more here: https://www.mmmpodcast.me/ep210

INTERVIEW: Stephen from Swallow the Rat on new single 'Terra Nullius' by Charlotte Esteve and Laura Bowater on Radio One 91FM Dunedin

Stories define who we are, our history and they can be weaponised. Stories can erase an entire culture. History is nothing but a story. Noongar woman and author Claire G. Coleman invites you to consider that Australia has been defined by a story that hasn't been built on truth. That the stories Australia tells itself about itself are actually dangerous; they disenfranchise and dehumanise people, both the settlers and the First Nations people. Colonisation in Australia is not over. It is a process, not an event, and the aftereffects will continue while there are still people to remember it. Hear from Coleman the full story of the colonisation and future of Australia and arm yourself against lies with weaponised words of truth. Claire G. Coleman is a Noongar woman whose family have belonged to the south coast of Western Australia since long before history started being recorded. She writes fiction, essays, poetry and art writing while either living in Naarm (Melbourne) or on the road. During an extended circuit of the continent she wrote a novel, Terra Nullius, which won the black&write! Indigenous Writing Fellowship and was listed for 8 awards including a shortlisting for The Stella Prize.

Justin Clemens and Thomas Ford talk to Di Cousens about their new book, Barron Field in New South Wales, the Poetics of Terra Nullius.

Essays on speculative/science fiction explore the futures that feed our most cherished fantasies and terrifying nightmares, while helping diverse communities devise new survival strategies for a tough millennium. The explosion in speculative/science fiction (SF) across different media from the late twentieth century to the present has compelled those in the field of SF studies to rethink the community's identity, orientation, and stakes.  In Ida Yoshinaga, Sean Guynes, and Gerry Canavan's edited volume Uneven Futures: Strategies for Community Survival from Speculative Fiction (MIT Press, 2022), more than forty writers, critics, game designers, scholars, and activists explore core SF texts, with an eye toward a future in which corporations dominate both the means of production and the means of distribution and governments rely on powerful surveillance and carceral technologies. The essays, international in scope, demonstrate the diversity of SF through a balance of popular mass-market novels, comics, films, games, TV shows, creepypastas, and more niche works. SF works explored range from Riot Baby by Tochi Onyebuchi, 2084: The End of the World by Boualem Sansal, Terra Nullius by Claire Coleman, Watchmen and X-Men comics, and the Marvel film Captain America: The Winter Soldier, to the MaddAddam trilogy by Margaret Atwood, The Dispossessed by Ursula K. Le Guin, The Wandering Earth by Liu Cixin, and the Wormwood trilogy by Tade Thompson. In an era in which ecological disaster and global pandemics regularly expose and intensify deep political-economic inequalities, what futures has SF anticipated? What survival strategies has it provided us? Can it help us to deal with, and grow beyond, the inequalities and injustices of our times? Unlike other books of speculative/science fiction criticism, Uneven Futures uses a think piece format to make its critical insights engaging to a wide audience. The essays inspire visions of better possible futures—drawing on feminist, queer, and global speculative engagements with Indigenous, Latinx, and Afro- and African futurisms—while imparting important lessons for political organizing in the present. 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

Essays on speculative/science fiction explore the futures that feed our most cherished fantasies and terrifying nightmares, while helping diverse communities devise new survival strategies for a tough millennium. The explosion in speculative/science fiction (SF) across different media from the late twentieth century to the present has compelled those in the field of SF studies to rethink the community's identity, orientation, and stakes.  In Ida Yoshinaga, Sean Guynes, and Gerry Canavan's edited volume Uneven Futures: Strategies for Community Survival from Speculative Fiction (MIT Press, 2022), more than forty writers, critics, game designers, scholars, and activists explore core SF texts, with an eye toward a future in which corporations dominate both the means of production and the means of distribution and governments rely on powerful surveillance and carceral technologies. The essays, international in scope, demonstrate the diversity of SF through a balance of popular mass-market novels, comics, films, games, TV shows, creepypastas, and more niche works. SF works explored range from Riot Baby by Tochi Onyebuchi, 2084: The End of the World by Boualem Sansal, Terra Nullius by Claire Coleman, Watchmen and X-Men comics, and the Marvel film Captain America: The Winter Soldier, to the MaddAddam trilogy by Margaret Atwood, The Dispossessed by Ursula K. Le Guin, The Wandering Earth by Liu Cixin, and the Wormwood trilogy by Tade Thompson. In an era in which ecological disaster and global pandemics regularly expose and intensify deep political-economic inequalities, what futures has SF anticipated? What survival strategies has it provided us? Can it help us to deal with, and grow beyond, the inequalities and injustices of our times? Unlike other books of speculative/science fiction criticism, Uneven Futures uses a think piece format to make its critical insights engaging to a wide audience. The essays inspire visions of better possible futures—drawing on feminist, queer, and global speculative engagements with Indigenous, Latinx, and Afro- and African futurisms—while imparting important lessons for political organizing in the present. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/geography

Essays on speculative/science fiction explore the futures that feed our most cherished fantasies and terrifying nightmares, while helping diverse communities devise new survival strategies for a tough millennium. The explosion in speculative/science fiction (SF) across different media from the late twentieth century to the present has compelled those in the field of SF studies to rethink the community's identity, orientation, and stakes.  In Ida Yoshinaga, Sean Guynes, and Gerry Canavan's edited volume Uneven Futures: Strategies for Community Survival from Speculative Fiction (MIT Press, 2022), more than forty writers, critics, game designers, scholars, and activists explore core SF texts, with an eye toward a future in which corporations dominate both the means of production and the means of distribution and governments rely on powerful surveillance and carceral technologies. The essays, international in scope, demonstrate the diversity of SF through a balance of popular mass-market novels, comics, films, games, TV shows, creepypastas, and more niche works. SF works explored range from Riot Baby by Tochi Onyebuchi, 2084: The End of the World by Boualem Sansal, Terra Nullius by Claire Coleman, Watchmen and X-Men comics, and the Marvel film Captain America: The Winter Soldier, to the MaddAddam trilogy by Margaret Atwood, The Dispossessed by Ursula K. Le Guin, The Wandering Earth by Liu Cixin, and the Wormwood trilogy by Tade Thompson. In an era in which ecological disaster and global pandemics regularly expose and intensify deep political-economic inequalities, what futures has SF anticipated? What survival strategies has it provided us? Can it help us to deal with, and grow beyond, the inequalities and injustices of our times? Unlike other books of speculative/science fiction criticism, Uneven Futures uses a think piece format to make its critical insights engaging to a wide audience. The essays inspire visions of better possible futures—drawing on feminist, queer, and global speculative engagements with Indigenous, Latinx, and Afro- and African futurisms—while imparting important lessons for political organizing in the present. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

Essays on speculative/science fiction explore the futures that feed our most cherished fantasies and terrifying nightmares, while helping diverse communities devise new survival strategies for a tough millennium. The explosion in speculative/science fiction (SF) across different media from the late twentieth century to the present has compelled those in the field of SF studies to rethink the community's identity, orientation, and stakes.  In Ida Yoshinaga, Sean Guynes, and Gerry Canavan's edited volume Uneven Futures: Strategies for Community Survival from Speculative Fiction (MIT Press, 2022), more than forty writers, critics, game designers, scholars, and activists explore core SF texts, with an eye toward a future in which corporations dominate both the means of production and the means of distribution and governments rely on powerful surveillance and carceral technologies. The essays, international in scope, demonstrate the diversity of SF through a balance of popular mass-market novels, comics, films, games, TV shows, creepypastas, and more niche works. SF works explored range from Riot Baby by Tochi Onyebuchi, 2084: The End of the World by Boualem Sansal, Terra Nullius by Claire Coleman, Watchmen and X-Men comics, and the Marvel film Captain America: The Winter Soldier, to the MaddAddam trilogy by Margaret Atwood, The Dispossessed by Ursula K. Le Guin, The Wandering Earth by Liu Cixin, and the Wormwood trilogy by Tade Thompson. In an era in which ecological disaster and global pandemics regularly expose and intensify deep political-economic inequalities, what futures has SF anticipated? What survival strategies has it provided us? Can it help us to deal with, and grow beyond, the inequalities and injustices of our times? Unlike other books of speculative/science fiction criticism, Uneven Futures uses a think piece format to make its critical insights engaging to a wide audience. The essays inspire visions of better possible futures—drawing on feminist, queer, and global speculative engagements with Indigenous, Latinx, and Afro- and African futurisms—while imparting important lessons for political organizing in the present. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

In this must-listen episode, host Leanne McMahon talks to Professor Chris Matthews from the Aboriginal and Torres Strait Islander Mathematics Alliance (ATSIMA) about the Aboriginal and Torres Strait Islander cultural cross-curriculum priority inclusion in the new Maths Curriculum in Australian schools. Chris shares his mathematical and cultural history and challenges teachers to examine how the concept of Terra Nullius has affected the role of both indigenous and non-indigenous Australians today. He discusses the importance of culture to all students and looks at some relevant contexts and ways in which teachers can include the cultural priority in their planning. Contact Chris: https://atsima.com/ MathsTalk Feedback: MathsTalk@amsi.org.au Chris's talk - AMSI Summer School (Maths & Culture): https://ss.amsi.org.au/public-lecture/ (click on watch recording link) Teacher Magazine Link: https://www.teachermagazine.com/au_en/authors/chris-matthews The Orb: https://www.theorb.tas.gov.au/ ACARA Priority description: https://tinyurl.com/ATSIpriority

Jim has an extremely wide-ranging discussion with Michael Garfield. They discuss the upcoming book Michael is drafting in public, the exponential scaling of information production, Jurassic Park, mass distributed computation, a new topology for social connectivity, info agents, stereotyping & police violence, a dehumanizing pace of human interaction, Charles Stross's prophetic visions, heuristic induction, strong vs weak social links, restoration of the mesoscale, from the geographic polity to the noetic, the importance of the ground layer, semi-permeable membranes with commons inside them, Pokemon Go & behavioral control, generative AI & intellectual property, creating a commons to benefit culture, circular economies, dividend money & usury, high-temperature search, a future of childlike play, and much more. Michael will be hosting an interactive course with Jeremy Johnson, titled "Jurassic Worlding," beginning on July 18. Those interested should keep an eye on NuraLearning.com. Join the Jurassic Park book club and help Michael research and workshop his next book, Jurassic Worlding: A Palaeontology of The Present, at Michael's Substack. Episode Transcript Michael Garfield on Substack Subconscious (Substack) "The Singularity In Our Past Light-Cone," by Cosma Shalizi Accelerando, by Charles Stross (free online version) "Declaration for The Independence of Cyberspace," by John Perry Barlow John Danaher Interviews Erin Neely on Augmented Reality, Ethics, and Property Rights (Algocracy and Transhumanism Podcast) "The Evolution of Surveillance," by Michael Garfield "Terra Nullius," by Cory Doctorow Future Fossils Reading List Alison Gopnik on Child Development, Elderhood, Caregiving, and A.I. (Complexity Podcast) JRS EP130 - Ken Stanley on Why Greatness Cannot Be Planned

Valentine Sabouraud nous parle d'une décision de justice qui a mis fin au mythe de « Terra Nullius » en reconnaissant à des habitants des îles Murray un droit sur leurs terres ancestrales. Elle nous raconte le long combat humain et judiciaire d'Eddie Koiki Mabo et ses compagnons, avec les archives de ABC, de NITV et de l'université James Cook. Attention, on y entend la voix de personnes diparues.

Imagine you want to start a brand new country. Only, you don't want to go through the messy process of starting a revolution or a civil war in a currently existing country.  You want to find an empty piece of land for yourself that no one has claimed.  Is such a thing possible? Learn more about the doctrine of Terra Nullius and where it could still theoretically be exercised in the world today, on this episode of Everything Everywhere Daily. Sponsors BetterHelp is an online platform that provides therapy and counseling services to individuals in need of mental health support. The platform offers a range of communication methods, including chat, phone, and video sessions with licensed and accredited therapists who specialize in different areas, such as depression, anxiety, relationships, and more. Get 10% off your first month at BetterHelp.com/Everywhere ButcherBox is the perfect solution for anyone looking to eat high-quality, sustainably sourced meat without the hassle of going to the grocery store. With ButcherBox, you can enjoy a variety of grass-fed beef, heritage pork, free-range chicken, and wild-caught seafood delivered straight to your door every month. Visit ButcherBox.com/Daily to get 10% off and free chicken thighs for a year. InsideTracker provides a personal health analysis and data-driven wellness guide to help you add years to your life—and life to your years. Choose a plan that best fits your needs to get your comprehensive biomarker analysis, customized Action Plan, and customer-exclusive healthspan resources. For a limited time, Everything Everywhere Daily listeners can get 20% off InsideTracker's new Ultimate Plan. Visit InsideTracker.com/eed. Subscribe to the podcast!  https://link.chtbl.com/EverythingEverywhere?sid=ShowNotes -------------------------------- Executive Producer: Charles Daniel Associate Producers: Peter Bennett & Thor Thomsen   Become a supporter on Patreon: https://www.patreon.com/everythingeverywhere Update your podcast app at newpodcastapps.com Discord Server: https://discord.gg/UkRUJFh Instagram: https://www.instagram.com/everythingeverywhere/ Facebook Group: https://www.facebook.com/groups/everythingeverywheredaily Twitter: https://twitter.com/everywheretrip Website: https://everything-everywhere.com/ Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of the A History of Australia podcast, we delve into the reasons as to why the British decided to colonise Australia, and whether it is just the same story you've known since you were a child (trust us, it likely is not). We also discuss Terra Nullius, and what it meant for how the British justified their colonisation of the continent. 

Listener Spotlight "Kary" is a teacher from North Carolina She found out about Board Game Faith through Facebook! Game she's digging:  Played "Sequence" for the first time and really enjoyed it. What is awesome about her?  Waking up at 5 AM! Why do you listen to BGF?  The awesome hosts.

Terra Nullius. A No Man's Land. Met with European notions of civilisation, Indigenous Australia was brutally overlooked. But the worlds oldest living culture survives. Indigenous approaches to architecture are gaining ground. Indigenous voices are demanding respect and self-determination. 2023 will likely reveal how far we've come…Paul Memmott is an anthropologist and architect. For 5 decades he has been Director of the Aboriginal Environments Research Centre. His work has focussed on a range of topics including institutional architecture, indigenous housing, crowding, governance, well-being, homelessness, family violence and social planning. He has is referenced by many scholars, including in Dark Emuby Bruce Pascoe, and in the rebuttal to Dark Emu: Farmers or Hunter-gatherers? by Peter Sutton and Keryn Walshe. He is the author of 11 books, including the magisterial Gunyah Goodie and Wurley: the Aboriginal Architecture of Australia. Peter Stutchbury is an acclaimed and award-winning architect known for his innovative approach to sustainability and design. He has a deep appreciation for the Australian landscape, having spent his formative years in the desert country of western NSW. He was winner of the International 'Living Steel' competition for extreme climate housing in Cherepovets, Russia, held the Catedra Luis Barragán in Mexico and has been a tutor on McKay-Lyons Ghost Studio in Canada.

Welcome to our Summer Series! First off we take you back to our very first ever episode in 2018 where we discuss just what The First Time Podcast is all about (or at least what we planned back then!). Then we chat to Claire G Coleman. Claire G Coleman is a Noongar woman whose family belong to the south coast of Western Australia. She writes fiction, essays, poetry and art criticism while either living in Naarm (Melbourne) or on the road. Born in Whadjuk Noongar Boodjar (Perth), away from her ancestral country she has lived most of her life in Victoria and most of that in and around Naarm (Melbourne). During an extended circuit of the continent she wrote a novel, influenced by certain experiences gained on the road. She has won a Black&Write! Indigenous Writing Fellowship for that novel, Terra Nullius. Terra Nullius was published in Australia by Hachette Australia and in North America by Small Beer Press. And was shortlisted for numerous awards including The Stella Prize 2018, ABIA Matt Richell Award for New Writers 2018, the Aurealis Award for a Science Fiction Novel 2017 and was Highly Commended in the Victorian Premier's Literary Awards 2017 Since we first spoke to Claire, she has been incredibly busy. Her second novel, The Old Lie, was written in response to what she learned when traveling and was published in 2019 by Hachette Australia. Lies, Damned Lies, Claire's first non-fiction book, unpacking the effects of the history of Australia's colonisation, was released on the 1st of September 2021. In 2022, Claire's third novel Enclave was published by Hachette. Check out this episode on our website www.thefirsttimepodcast.com or get in touch via Twitter (@thefirsttimepod) or Instagram (@thefirsttimepod). Don't forget you can support us and the making of Season Six via our Patreon page. Thanks for joining us and we look forward to bringing you brand new episodes from March 2023!

[Intro: 8:06 | Outro: 1:04:00] Indigenous archeologist Dr. Paulette Steeves (Cree-Métis) joins me to discuss 'The Indigenous Paleolithic of the Western Hemisphere' (University of Nebraska Press), “a reclaimed history of the deep past of Indigenous people in North and South America during the Paleolithic." There are myths we are told growing up — be it via schooling, popular media, or elsewhere — that people have lived in the Western Hemisphere for only 10-12,000 years, at most. This is the Clovis First theory. In archeology in particular, this framework, that the peopling of the North and South American continents could only have occurred that recently, is treated as dogma. In comparison to the astounding discoveries made by archeologists on other continents — pushing back human and protohominid migration, settlement, and cultural development hundreds of thousands, if not millions, of years into the past — why is it that this story has persisted in this field for so long? This is especially troubling when one considers the hundreds of archaeological sites that show human settlement in the Americas extending back much further into the historical past, as documented by Dr. Paulette Steeves and numerous others. This issue is relevant to us all, but especially for Indigenous peoples across the Western Hemisphere. As Dr. Steeves demonstrates in her book, archeology is largely a colonialist enterprise, a field that has historically generated a form of knowledge production that actively excludes Indigenous peoples' oral traditions and ignores their concerns, appeals, and demands to respect their lands and ancestral sites. Archeologists have been viciously attacked by colleagues for publishing scientific findings that strongly prove people have lived in what we now call North and South America for tens of thousands of years longer than what the Clovis First dogma would suggest. To grant Indigenous people their history, to acknowledge the grand timescale of their existence on these continents, upends deeply colonialist narratives that deny Indigenous peoples their humanity. To state it bluntly, 'The Indigenous Paleolithic of the Western Hemisphere' is a vital, timely, honest, and fierce book that pushes us to expand our understandings, and to more fully acknowledge and respect Indigenous peoples, and their incredibly rich histories, across the Western Hemisphere. Dr. Paulette Steeves. Ph.D. – (Cree- Metis) is an Indigenous archaeologist with a focus on the Pleistocene history of the Western Hemisphere. In her research, Steeves argues that Indigenous peoples were present in the Western Hemisphere as early as 100,000 years ago, and possibly much earlier. She has created a database of hundreds of archeology sites in both North and South America that date from 250,000 to 12,000 years before present, which challenges the Clovis First dogma of a post 12,000 year before present initial migrations to the Americas. Episode Notes: - Purchase a hardback copy of 'The Indigenous Paleolithic of the Western Hemisphere' from Bookshop, or preorder the paperback from University of Nebraska Press: https://bit.ly/3sLRJDu / https://bit.ly/3DmI636 - Learn more about Dr. Steeves and follow her work: https://paulettesteeves22.wixsite.com/drpaulettesteeves / https://twitter.com/PauletteSteeves / https://tipdba.com - Music produced by Epik The Dawn: https://epikbeats.net WEBSITE: https://www.lastborninthewilderness.com PATREON: https://www.patreon.com/lastborninthewilderness DONATE: https://www.paypal.me/lastbornpodcast / https://venmo.com/LastBornPodcast BOOK LIST: https://bookshop.org/shop/lastbornpodcast EPISODE 300: https://lastborninthewilderness.bandcamp.com BOOK: http://bit.ly/ORBITgr ATTACK & DETHRONE: https://anchor.fm/adgodcast DROP ME A LINE: Call (208) 918-2837 or http://bit.ly/LBWfiledrop EVERYTHING ELSE: https://linktr.ee/patterns.of.behavior

Robin celebrates with guest Victoria Tauli-Corpuz, Indigenous Activist Leader (Kankana-ey Igorot) from The Philippines, and one of the original drafters of the UN Declaration on the Rights of Indigenous Peoples, which finally passed in 2007.

Sam Cheung, Carlyn Greenwald, and Ivan Vukovic, three regular everyday Americans, are back to discuss The Crown Season 4, Episode 6: Terra Nullius. Together, they try to determine which Olivia Rodrigo song best encapsulates the episode, and Carlyn shares the circumstances which led to her knowledge of Ayers Rock.

Today I'm joined by Laihall to discuss Indigenous history as parapolitics, or as Laihall pointed out, parapolitics is indigenous history. We talk about chaos magick, surrealism, and the theft of Indigenous artifacts, Terra Nullius, trading companies as massive corporate operations, and many other topics. In particular, Laihall links Indigenous oppression to reasons grounded in capitalist expansion, and links this to the dark history of the Residential schools. Along the way, we discuss Indian metal and even talk skinhead oi. Finally, we discuss when Indian workers have led and fought together with other workers, and a potential path forward. I made a donation to the Indian Residential School Survivors Society, and I encourage my listeners who can to do so here: https://www.irsss.ca/ Songs: Gyitwaalkt by Gyibaaw Gisigwilgwelk and Diitk by Gyibaaw St'at'imc Constitution song Merch: https://programmed-to-chill.myshopify.com/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

The Final Draft Great Conversations podcast is all about books, writing and literary culture. We're dedicated to exploring Australian writing, looking into the issues that drive our storytelling to discover more from the books you love.These are the stories that make us who we are.Claire G. Coleman is a Noongar writer, from Western Australia, now based in Naarm. Claire's debut novel is the award winning Terra Nullius. She is the author of the novel The Old Lie and Lies Damned Lies, an historical and cultural exploration of the ongoing impact of colonial invasion. Claire's third novel, is Enclave.Enclave takes us to the community of Safetown. There residents live a comfortable life, secure in the knowledge they are protected by ‘the wall'. Within that concrete edifice security patrol their streets and drones surveil the airway to ensure even the smallest transgression is met with swift consequences.Christine has spent her entire life basking in the comfort her fathers wealth and Safetown's security provide the daughter of an influential family. Sure her father is a distant figure, her mother a high functioning alcoholic, but they've just bought her an apartment and extended her a line of seeming unlimited credit.Safetown was built to protect families like Christine and she should be happy with this safety. Except her best friend Jack is missing and Christine has begun to notice her servants, people who don't look quite like her…Join as we discover Claire G Coleman's Enclave.Final Draft is produced and presented by Andrew PopleWant more great conversations with Australian authors?Discover this and many more conversations on Final Draft every week from 2ser.Get in touch with Andrew and Final Draft. We love to hear about what you're reading!Twitter - https://twitter.com/finaldraft2serInstagram - https://www.instagram.com/finaldraft2ser/Facebook - https://www.facebook.com/finaldraft2ser/

*WARNING SPOILERS*This part of our conversation with Claire contains spoilers for Enclave. Definitely don't tune in until you've read Enclave!What are you waiting for? Go get a copy now!Claire G. Coleman is a Noongar writer, from Western Australia, now based in Naarm. Claire's debut novel is the award winning Terra Nullius. She is the author of the novel The Old Lie and Lies Damned Lies, an historical and cultural exploration of the ongoing impact of colonial invasion. Claire's third novel, is Enclave.In this special bonus of outtakes from the Enclave interview Claire talks about inspirations for the story, famous fans and the potential for her work to be adapted.Final Draft is produced and presented by Andrew PopleWant more great conversations with Australian authors?Discover this and many more conversations on Final Draft every week from 2ser.Get in touch with Andrew and Final Draft. We love to hear about what you're reading!Twitter - https://twitter.com/finaldraft2serInstagram - https://www.instagram.com/finaldraft2ser/Facebook - https://www.facebook.com/finaldraft2ser/

Claire Coleman is a Noongar writer, born in Western Australia and now based in Naarm. Her family have been from the area around Ravensthorpe and Hopetoun on the south coast of WA since before time started being recorded. She has written three works of speculative fiction to date - Terra Nullius: A Novel (2017), which was shortlisted for The Stella Prize, among many other awards, The Old Lie (2019) and Enclave (2022).  Her acclaimed non-fiction book, Lies Damned Lies: A personal exploration of the impact of colonisation was published in 2021. Claire has appeared on The Garret before. You can find a detailed discussion of Terra Nullius here, as well as a discussion recorded live at the Ubud Writers and Readers Festival in 2019 here. About The Garret Read the transcript of this interview at thegarretpodcast.com. You can also follow The Garret on Twitter and Instagram, or follow our host Astrid Edwards on Twitter or Instagram.See omnystudio.com/listener for privacy information.

Claire G. Coleman is a Noongar writer, from Western Australia, now based in Naarm. Claire's debut novel is the award winning Terra Nullius as well as the author of The Old Lie and the acclaimed non-fiction book, Lies Damned Lies. Calire's third novel, the one I want to talk about today is Enclave.In the community of Safetown residents live a comfortable life, secure in the knowledge they are protected by the wall. Within that concrete edifice security patrol their streets and drones surveil the airway to ensure even the smallest transgression is met with swift consequences.Christine has spent her entire life basking in the comfort her fathers wealth and Safetown's security provide the daughter of an influential family. Sure her father is a distant figure, her mother a high functioning alcoholic, but they've just bought her an apartment and extended her a line of seeming unlimited credit.Safetown was built to protect families like Christine and she should be happy with this safety. Except her best friend Jack is missing and Christine has begun to notice her servants, people who don't look quite like her…I think the potency of Enclave will hit readers in different ways.On a first pass, Enclave seems to have taken the worst of the days headlines: Trump's wall, fake islands in the South China Sea, almost sentient algorithms watching our online behaviors. Enclave has taken these ideas and extended them to their horrific conclusion. This can seem like a grossly distended version of reality and may strike some as Escher-like, while to others it's a kind of dystopian porn.Coleman sets us up in Safetown, allowing us to walk alongside Christine, but it is not with the sort of familiarity or sympathy we might expect from an anointed heroine/protagonist.When we finally meet some of Christine's house staff, and I mean really meet them as something other than background to Christine's perpetual catastrophic personal life, we realize they are exclusively people of colour. Again this is not subtle, not eased on to the reader. Safetown is a kind of twisted white-supremacy fantasy and it bears an awful similarity to multi-million dollar neighborhoods across the country.At this point it would be easy to see Enclave as commentary on the wrong turn society took too-long ago and Christine as an exemplar of our own generation coming to the realisation we are on the wrong side of history.But this is Claire G Coleman and just as the reader starts to feel safe that they know where Christine's story is heading she pulls back the proverbial curtain.Fans of Claire's first novel Terra Nullius will know her ability to stage an about face that changes everything you thought you know about the story.Enclave is a dark tale of excess and the absolutely destructive path of privilege. It exposes racism by showing the absolute mundanity of the everyday actions that reinforce power. There were times as I read that I thought the book was moving too slow, not showing me anything I needed to see. But that was Claire lulling a reader like me, someone who's lived close enough to privilege to not see it, into believing that this world could exist.The horror she paints of a segregated society and rampant excess doesn't look terribly different to a real housewives episode and therein lies the power.Enclave is an absolute recommendation from me but beware. It's a story that has your expectations in its sights and knows that we don't change anything by maintaining the status quo…Book Club is produced and presented by Andrew PopleWant more great conversations with Australian authors?Discover this and many more conversations on Final Draft every week from 2ser.Get in touch with Andrew and Final Draft. We love to hear about what you're reading!Twitter - https://twitter.com/finaldraft2serInstagram - https://www.instagram.com/finaldraft2ser/Facebook - https://www.facebook.com/finaldraft2ser/

Terra nullius is a Latin phrase meaning “nobody's land,” but historically it has tended to mean something closer to *grabby hands.* What does it mean when a place is considered no one's? Are there still places where people aren't? Are there places where we've never been? The answers may surprise you. Members, check out an extended edition of this episode here. Interested in learning about how to use X-Rays and similar technology in archaeology? Check out the linked PaleoImaging course from James Elliot! Connect with James on Twitter: @paleoimaging Interested in sponsoring this show or podcast ads for your business? Zencastr makes it really easy! Click this message for more info. Links Rockall (Wikipedia When Will It Get Too Hot for the Body to Survive? (Slate) The Alaskan Island That Humans Can't Conquer (Smithsonian Magazine) The bones that could shape Antarctica's fate (BBC Future) Three High-Altitude Peoples, Three Adaptations to Thin Air (National Geographic) Tibetans inherited high-altitude gene from ancient human (Science) Sama (Encyclopedia Britannica) The Identity and Social Mobility of Sama-Bajau (Sari) Explorer Reaches Bottom of the Mariana Trench, Breaks Record for Deepest Dive Ever (LiveScience) What Land Did Europeans Actually Discover? [Infographic] (Popular Science) The Wilderness Act (Wilderness Connect) Son Doong 360 (National Geographic) The last unmapped places on Earth (BBC Future) Contact Email the Dirt Podcast: thedirtpodcast@gmail.com ArchPodNet APN Website: https://www.archpodnet.com APN on Facebook: https://www.facebook.com/archpodnet APN on Twitter: https://www.twitter.com/archpodnet APN on Instagram: https://www.instagram.com/archpodnet Tee Public Store Affiliates Wildnote TeePublic Timeular Motion

Terra nullius is a Latin phrase meaning “nobody's land,” but historically it has tended to mean something closer to *grabby hands.* What does it mean when a place is considered no one's? Are there still places where people aren't? Are there places where we've never been? The answers may surprise you. Members, check out an extended edition of this episode here. Interested in learning about how to use X-Rays and similar technology in archaeology? Check out the linked PaleoImaging course from James Elliot! Connect with James on Twitter: @paleoimaging Interested in sponsoring this show or podcast ads for your business? Zencastr makes it really easy! Click this message for more info. Links Rockall (Wikipedia When Will It Get Too Hot for the Body to Survive? (Slate) The Alaskan Island That Humans Can't Conquer (Smithsonian Magazine) The bones that could shape Antarctica's fate (BBC Future) Three High-Altitude Peoples, Three Adaptations to Thin Air (National Geographic) Tibetans inherited high-altitude gene from ancient human (Science) Sama (Encyclopedia Britannica) The Identity and Social Mobility of Sama-Bajau (Sari) Explorer Reaches Bottom of the Mariana Trench, Breaks Record for Deepest Dive Ever (LiveScience) What Land Did Europeans Actually Discover? [Infographic] (Popular Science) The Wilderness Act (Wilderness Connect) Son Doong 360 (National Geographic) The last unmapped places on Earth (BBC Future) Contact Email the Dirt Podcast: thedirtpodcast@gmail.com ArchPodNet APN Website: https://www.archpodnet.com APN on Facebook: https://www.facebook.com/archpodnet APN on Twitter: https://www.twitter.com/archpodnet APN on Instagram: https://www.instagram.com/archpodnet Tee Public Store Affiliates Wildnote TeePublic Timeular Motion

It's been 30 years since the Mabo ruling in Australia - what about indigenous rights? In fact, when Captain James Cook took possession of Australia for the British Crown, he did so on the assumption that the country was "Terra Nullius" - a no man's land. The British ignored the fact that a number of indigenous peoples had already settled the continent. But exactly 30 years ago, the indigenous Eddie Mabo managed to have this declared null and void in court. But what has happened since then for Aboriginal Australians and Torres Strait Islanders? - 30 Jahre ist es her seit dem Mabo-Urteil in Australien – wie steht es um die indigenen Rechte?  Tatsache ist: Als Kapitän James Cook Australien für die britische Krone in Besitz nahm, tat er dies unter der Annahme, das Land sei „Terra Nullius“ – ein Niemandsland. Dass etliche indigene Völker den Kontinent bereits besiedelten, wurde von den Briten ignoriert.  Aber vor genau 30 Jahren gelang es dem Indigenen Eddie Mabo, dies vor Gericht für nichtig erklären zu lassen. Doch was hat sich seitdem für die Aborigines und Bewohner der Torres-Straße getan?

Imagine you want to start a brand new country. Only, you don't want to go through the messy process of starting a revolution or a civil war in a currently existing country.  You want to find an empty piece of land for yourself that no one has claimed.  Is such a thing possible? Learn more about the doctrine of Terra Nullius and where it could still theoretically be exercised in the world today, on this episode of Everything Everywhere Daily. Subscribe to the podcast!  https://podfollow.com/everythingeverywhere/ -------------------------------- Executive Producer: Darcy Adams Associate Producers: Peter Bennett & Thor Thomsen   Become a supporter on Patreon: https://www.patreon.com/everythingeverywhere Update your podcast app at newpodcastapps.com Discord Server: https://discord.gg/UkRUJFh Instagram: https://www.instagram.com/everythingeverywhere/ Twitter: https://twitter.com/everywheretrip Website: https://everything-everywhere.com/everything-everywhere-daily-podcast/ Everything Everywhere is an Airwave Media podcast." or "Everything Everywhere is part of the Airwave Media podcast network Please contact sales@advertisecast.com to advertise on Everything Everywhere. Learn more about your ad choices. Visit megaphone.fm/adchoices

Mabo Day commemorates Torres Strait Islander Eddie Koiki Mabo and his role in overturning the “terra nullius” declaration - which claimed that Australia was once land belonging to no-one. For two centuries, the British and then white Australians operated under a fallacy, that somehow Aboriginal people did not exist or have land rights before the first settlers arrived in 1788. Kulasegaram Sanchayan presents the man who changed that - Eddie Koiki Mabo. - ஜுன் 3 Mabo தினம். பூர்வீக மக்களின் நில உரிமையில் பாரிய மாற்றத்தை ஏற்படுத்தியவர் Eddie Mabo.Terra Nullius, அதாவது இந்த மண்ணில் யாரும் குடியிருக்கவில்லை, என்று பிரித்தானியர்கள் பிரகடனப்படுத்தி, குடியேறி, பூர்வீக மக்களுக்கு நில உரிமை இல்லை என்று சட்டம் இயற்றி சுமார் 200 ஆண்டுகளுக்குப்பின்னர் அந்த சிந்தனைக்கு சவால் விட்ட Edward Koiki Mabo குறித்த நிகழ்ச்சி. தயாரித்து முன்வைக்கிறார் குலசேகரம் சஞ்சயன்.

Kaleb Mabo, a grandson of Edward Koiki Mabo is planning to restore the patriarch's traditional home and final resting place; Las Village on Mer (Murray) Island. The restoration is set to be completed on June 3 and mark 30 years since the Mabo case overturned the doctrine of Terra Nullius in the high court of Australia, giving birth to Native Title.

The Final Draft Great Conversations podcast is all about books, writing and literary culture. We're dedicated to exploring Australian writing, looking into the issues that drive our storytelling to discover more from the books you love.These are the stories that make us who we are.Claire G Coleman is a Noongar writer of fiction, essays, poetry and criticism. She is the author of Terra Nullius, The Old Lie and Lies Damned Lies.Claire joined Andrew in conversation to discuss the impact of the pandemic on authors whose books have released in the last two years. In the course of their conversation they discuss the ways we interpret and understand history. The impact of wholesale lies being sold as alternate truth and even get into the workings of Claire's writing.Featuring Claire discussing her upcoming novel 'Enclave'! Join Andrew in conversation with Claire G Coleman...Final Draft is produced and presented by Andrew PopleWant more great conversations with Australian authors?Discover this and many more conversations on Final Draft every week from 2ser.

In this episode of Doing Diversity in Writing, we—Bethany and Mariëlle—interview Professor Grace L. Dillon about Indigenous Futurisms and how (not) to write Indigenous characters.    Grace L. Dillon (Anishinaabe with family, friends, and relatives from Bay Mills Nation and Garden River Nation with Aunties and Uncles also from the Saulteaux Nation) is Professor in the Indigenous Nations Studies Department in the School of Gender, Race, and Nations and also Affiliated Professor at English and Women, Gender, and Sexualities Departments at Portland State University in Portland, Oregon, where she teaches undergraduate and graduate courses on a range of interests including Indigenous Futurisms, Queer Indigenous Studies, Gender, Race, and Nations Theories and Methodologies courses, Climate and Environmental Justice(s) from Indigenous Perspectives, Reparations Justice, Resurgence Justice, Science Fiction, Indigenous Cinema, Popular Culture, Race and Social Justice, and early modern literature. (For her full biography, please check out the episode page on our website.)   What Grace shared with us   Why and how she coined the term Indigenous Futurisms What it was like to be a consultant as an Anishinaabe person to directors Scott Cooper and Guillermo del Toro Some behind-the-scenes stories about the filming of Twilight What true allyship looks like and how we can become an ally How we can honour someone else's story Best practices of engaging with Indigenous communities Grace L Dillion's academic email is: dillong@pdx.edu   (Re)sources mentioned on the show and other recommendations by Grace L. Dillon, many of which are LGBTQ2+   Routledge Handbook of CoFuturisms, edited by Grace L. Dillon, Isiah Lavender III, Taryne Taylor, and Bodhisattva Chattopadhyay (forthcoming) Hachette Australia: https://www.hachette.com.au  Claire G. Coleman's Terra Nullius (2017) and The Old Lie (2019) (South Coast Noongar People): https://clairegcoleman.com  Ellen Van Neerven's Heat and Light (2014): https://ellenvanneervencurrie.wordpress.com/heat-and-light  Louise Erdrich's Future Home of the Living God: A Novel (2017) (Anishinaabe): https://www.goodreads.com/book/show/34217599-future-home-of-the-living-god  Leanne Betasamosake Simpson's This Accident of Being Lost: Songs and Stories (2017), Noopiming: The Cure for White Ladies (2021) and As We Have Always Done: Indigenous Freedom Through Radical Resurgence (2017) (Anishinaabe): https://www.leannesimpson.ca  Cherie Dimaline's The Marrow Thieves (2017) and Hunting by the Stars (Metis): https://cheriedimaline.com  Waubgeshig Rice's Moon of the Crusted Snow (2018) (Anishinaabe): https://www.waub.ca  Harold Johnson's Corvus (2015) (Cree): https://www.goodreads.com/book/show/26840855-corvus  Alexis Wright's The Swan Book (2013 rpt. 2018) (Waanyi Nation): https://www.goodreads.com/book/show/18247932-the-swan-book  Gerald Vizenor's Bearheart (1978) (Anishinaabe): https://www.goodreads.com/book/show/871536.Bearheart  Leslie Marmon Silko's Almanac of the Dead (1991) (Laguna Nation): https://www.goodreads.com/book/show/52385.Almanac_of_the_Dead  Australian First Nations Ambelin Kwaymullina's trilogy The Interrogation of Ashala the Wolf (2012), The Disappearance of Ember Crow (2013), and The Foretelling of Georgie the Spider (2015): https://ambelin-kwaymullina.com.au  Indigenous Hawai'ian Christopher Kahunahana's film Waikiki: http://www.waikikithemovie.com  Nalo Hopkinson's many stories, including YA novels Sister Mine (2013) and The Chaos (2012): https://www.nalohopkinson.com  Andrea Hairston's novels such as Mindscape, Redwood and Wildfire, Will Do Magic for Change, and Master of Poisons: http://andreahairston.com  Darcie Little Badger's Elatsoe (2020) and A Snake Falls to Earth (2022) (Lipan Apache Nation): https://darcielittlebadger.wordpress.com  Zainab Amadahy's Resistance (Afro-Canadian and Cherokee): https://www.swallowsongs.com  Daniel Heath Justice's The Way of Thorn and Thunder: The Kynship Chronicles (2011) and Why Indigenous Literatures Matter. His story “The Boys Who Became the Hummingbirds” in Hope Nicholson's edited collection of Love Beyond Body, Space, and Time: An Indigenous LGBT Sci-Fi Anthology (2016) is also explored in graphic novel form in Moonshot: The Indigenous Comics Collection, Volume 2 (2017) (Cherokee): https://danielheathjustice.com  Joshua Whitehead's Indigiqueer Metal, Johnny Appleseed, and Love After the End: An Anthology of Two-Spirit & Indigiqueer Speculative Fiction (2020): https://www.joshuawhitehead.ca  Moonshot: The Indigenous Comics Collection, Volume 3, edited by Anishinaabe and  Metís Nations Elizabeth La Pensèe and Michael Sheyahshe (2020): https://www.goodreads.com/book/show/51456434-moonshot  Deer Women: An Anthology (2017) published by Native Realities Press and headed by Lee Francis IV. (Laguna Pueblo Nation): https://www.goodreads.com/book/show/38219794-deer-woman  Sovereign Traces Volume 2: Relational Constellations edited by Elizabeth La Pensèe: https://www.goodreads.com/book/show/42686187-sovereign-traces-volume-2  Sloane Leong's graphic novel Prism Stalker (2019): https://prismstalker.com  Smokii Sumac's you are enough: love poems for the end of the world (2018) (Ktunaxa Nation): https://www.goodreads.com/book/show/41677143-you-are-enough  Michelle Ruiz Keil's All of Us With Wings (2019): https://www.goodreads.com/book/show/40177227-all-of-us-with-wings  Carmen Maria Machado's Her Body and Other Parties (2017) and In the Dream House: A Memoir (2019): https://carmenmariamachado.com  Sabrina Vourvoulias's Ink (2012): https://www.goodreads.com/book/show/15721155-ink  Rita Indiana's Tentacle (2018): https://www.goodreads.com/book/show/40679930-tentacle  Qwo-Li Driskill's Asegi Stories: Cherokee Queer and Two-Spirit Memory (2016): https://www.goodreads.com/book/show/27777916-asegi-stories  Tiffany Lethabo King, et. al's Otherwise Worlds: Against Settler Colonialism and Anti-Blackness (2020): https://www.dukeupress.edu/otherwise-worlds  Lisa Tatonetti's The Queerness of Native American Literature (2014): https://www.goodreads.com/book/show/21944614-the-queerness-of-native-american-literature  Bawaajigan: Stories of Power edited by Anishinaabe Nathan Niigan Noodin Adler and Christine Miskonoodinkwe Smith (2019):   https://www.goodreads.com/book/show/45180942-bawaajigan  mitêwâcimowina: Indigenous Science Fiction and Speculative Storytelling edited by Cree Nation Neal McLeod (2016): https://www.goodreads.com/book/show/34105770-mit-w-cimowina  Walking the Clouds: An Anthology of Indigenous Science Fiction edited by Grace L. Dillon (2012) (Anishinaabe): https://www.goodreads.com/book/show/13226625-walking-the-clouds  Amy Lonetree's Decolonizing Museums (2012) (Hochunk Nation): https://uncpress.org/book/9780807837153/decolonizing-museums  The work of Debra Yeppa Pappan (Korean and Jemez Pueblo) at the Chicago Field Museum: https://www.fieldmuseum.org/about/staff/profile/2486 Laura Harjo's Spiral to the Stars: Mvskoke Tools of Futurity (2019) (Cherokee): https://uapress.arizona.edu/book/spiral-to-the-stars  Bethany's Editing Your Novel's Structure: Tips, Tricks, and Checklists to Get You From Start to Finish: https://theartandscienceofwords.com/new-book-for-authors/   This week's episode page, with Grace L. Dillon's full bio, can be found here: https://representationmatters.art/2022/02/17/s2e5/   Subscribe to our newsletter here and get out Doing Diversity in Writing Toolkit, including our Calm the F*ck Down Checklist and Cultural Appropriation Checklist: https://landing.mailerlite.com/webforms/landing/r3p6g8    As always, we'd love for you to join the conversation by filling out our questionnaires.    Our Doing Diversity in Writing – Writer Questionnaire can be filled in at https://forms.gle/UUEbeEvxsdwk1kuy5   Our Doing Diversity in Writing – Reader Questionnaire can be filled in at https://forms.gle/gTAg4qrvaCPtqVJ36    Don't forget, you can find us at https://representationmatters.art/ and on https://www.facebook.com/doingdiversityinwriting   

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

Alex and Allison recap season 4, episode 6 of The Crown. Prince Charles and Diana go on their first overseas tour and the drama follows.

Republican Bob Hawke becomes Australian prime minister, raising the stakes for Charles and Diana's impending royal visit. He hopes the high cost of the visit will provide the tipping point to public backing of a republic. Diana insists on taking baby Prince William, to the Queen's disapproval. Charles and Diana discuss the difficulties of their marriage; Diana complains about his continuing interest in Camilla; they agree to try harder and, after a shaky start, the visit turns into a success with huge crowds turning out to see the young Princess, and their relationship temporarily improves. The Queen rewatches film footage of her own and Philip's tour of Australia in 1954 and becomes unsettled at the thought that this new royal tour is proving more successful. At an official reception, Hawke tells Charles that Diana has saved the monarchy in Australia. Charles and Diana argue again, and her eating disorder worsens. Back in the UK, they return to separate homes. Diana sees the Queen and tells of their unhappy marriage, but Elizabeth is unsympathetic and, when Diana tries to hug her, she walks out.