Episoder
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flowing through
opening ever-new vistas through listening and conversation
I received an email from composer Hildegard Westerkamp, about ego, and set Hildi’s words to sound.
The time seems right for you to let everyone’s words flow through you - as if through a medium or force - back to all of us in ever new shapes. This creates shifts in everyone’s perception, ideas, attitudes, feelings and approaches towards the world the way it is now. I have always felt that this was precisely what I was doing with environmental sounds. I recorded them (like voices that speak). I listened to them and then let them flow through me (speak through my compositions, like your and everyone’s words speak through your conscient podcast) back to everyone. Our own inner shift simply enables for more shifting to happen. It’s not us (our ego) that is effective here in allowing the flow of transformation to happen. The ego is more like a blood clot blocking true shifting in the larger scheme/flow of things - i.e. it wants to be exclusive, can’t include the perceptions and shifting of others. It’s a deeper engagement - love, passion or whatever one might call it - that not only allows, but desires for energies to flow through - reach - the nooks and crannies of human perception. Like a river. We are like the water particles that collaborate for the river to find its way through the landscapes as they present themselves. Opening ever-new vistas.*
END NOTES FOR ALL EPISODES
Hey conscient listeners,
Thanks for your presence. Season 5 of this podcast is now completed. I'll be back with season 6 on art and culture in times of crisis and collapse (see trailer for details) sometime in 2025.
Background on the conscient podcast
I’ve been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It’s my way to give back and be present.
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 about collapse acceptance, adaptation, response and art’. 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 most conscient podcast and balado conscient episodes from season 1 to 5 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 [email protected] 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 Schryer
Latest update on November 6, 2024
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Below is my reading of an executive summary of my ‘letter to the arts community about the ecological crisis - let’s put the climate emergency back onto our agendas’. I invite you to read the complete letter, when you get a chance, in English or in French, however this summary will give you the basics. I also invite you to submit comments on my Substack, on any of my social media (Facebook, Instagram, Twitter, Linked in) or directly to [email protected].
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Dear Canadian arts and cultural sector,
I hope these words find you well.
I’ve recently completed season 5 of my conscient podcast - balado conscient at La Montagnarde, an arts residency organized by l’ATSA : quand l’art passe à l'action, situated on the unceded territory of the Anishinaabe-Algonquin people (also known as St-Adolphe-d’Howard, Québec).
Let me get to the point.
Based on recent conscient podcast conversations, I have observed that the climate emergency (as well as the larger ecological crisis) have fallen off the collective agendas of the Canadian arts and culture sector.
The uncertainties we face are grim (see Disruptions on the Horizon).
I am advocating that these issues take their rightful place amongst our most urgent priorities and risk assessments.
In my complete letter, I invite you to read and listen to your arts and cultural peers who make a strong case for increased dialogue and rapid change, including:
Owais Lightwala and SGS’s (e194) Manifesto for NowRobin Sokoloski (e201) and the Living Climate-Impact Framework for the Arts (also e195)SCALE-LESAUT (e176) and Mapping the path to net zero for c\a\n\a\d\a’s Arts and Culture Sector” – what we found out – and what we need to do now!Canada Council for the Arts & Mass Culture’s Climate Mitigation Strategies for the Arts and the Climate Mitigation and Adaptation Strategies for the Arts reportIan Garrett (e182) and Sarah Fioravanti (é158) on CG Tools CanadaAlex Sarian’s The Audacity of RelevanceAnd much more (in the letter)…
We need to connect these critical initiatives by developing a ‘national arts and climate strategy’ as recommended by SCALE-LeSAUT so that the arts and cultural sector can play a much larger role in creative climate actions and solutions (both short and long term).
I think we can get there if we work together. My complete letter includes some practical suggestions and links.
In the meantime, the next season of conscient podcast - balado conscient will focus on ‘art and culture in times of crisis and collapse’ including an ‘artists survival kit’ (working title) : a set of practical tools and resources for artists to adapt and respond to the risks of ecological and societal collapse. This project will be informed by advisory circles. If you would like to participate, please contact me at [email protected].
Thanks for your consideration.
And if you agree with what I propose in this letter, I invite you to share it and talk about it with your peers.
I submit this letter with respect and in solidarity.
Claude Schryer
*
END NOTES FOR ALL EPISODES
Hey conscient listeners,
Thanks for your presence. Season 5 of this podcast is now completed. I'll be back with season 6 on art and culture in times of crisis and collapse (see trailer for details) sometime in 2025.
Background on the conscient podcast
I’ve been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It’s my way to give back and be present.
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 about collapse acceptance, adaptation, response and art’. 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 most conscient podcast and balado conscient episodes from season 1 to 5 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 [email protected] 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 Schryer
Latest update on November 6, 2024
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Manglende episoder?
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Hello, this is Claude Schryer.
I've just completed season 5 of conscient and I'm very pleased with the result: 54 episodes in English 11 in French. I am on the top of a mountain at La Montagnarde, now where I was in residence for a week completing season 5 and thinking about the next one and wanted to just give listeners a heads up of what's coming.
It won't necessarily be easy content, but I think it'll be interesting. The focus is going to be on arts and culture in times of crisis and collapse, continuing some of the conversations that I had this season, but going deeper into how the arts have served during periods of crisis and collapse in the past, and how they can be most relevant to the context in which we live, which does not mean that life will be necessarily unbearable, but it unfortunately it is going in that direction.
I'll be asking artists and cultural workers what they are doing, what they think, and at the same time, I'll be creating a toolkit, tentatively called ‘Artist Survival Kit’ that I will build very slowly with a series of advisory circles who are people who are interested in working on it with me, so that we can have some tools ready for when more difficult times come, such as floods and wildfires like we're seeing now, or excessive heat.We’ll explore how do we live in those conditions and how do we regenerate the worlds around us so that we can get back to good living conditions. So that's going to be the next season.
The format's going to be a bit different. It's going to be more documentary style, less of the kinds of conversations I've had and more editing and weaving together a narrative based on my conversations. As usual, I invite feedback and hope it's relevant and interesting for you as I continue to share my learning and unlearning journey.
I really appreciate the feedback I get.
I put the content out there as an offering for those who can benefit from what I'm seeing and learning and the mistakes I've made and all of that.
See you in season six.
*
END NOTES FOR ALL EPISODES
Hey conscient listeners,
Thanks for your presence. Season 5 of this podcast is now completed. I'll be back with season 6 on art and culture in times of crisis and collapse (see trailer for details) sometime in 2025.
Background on the conscient podcast
I’ve been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It’s my way to give back and be present.
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 about collapse acceptance, adaptation, response and art’. 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 most conscient podcast and balado conscient episodes from season 1 to 5 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 [email protected] 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 Schryer
Latest update on November 6, 2024
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My interest in science is quite poetic. The things that I find the most interesting about science are when it can be woven into a story that makes sense and I think that's kind of artistic in a way: you take the scientific knowledge and make it into a more abstract kind of poetic thing.
Note: I'll be back during the winter of 2025 with season 6 on the theme of 'art and culture in times of crisis and collapse'. Also, this episode was published on October 23, 2024 : our daughter Clara Schryer's 23rd birthday. Bonne fête chère Clara!
*
(arctic soundscapes: Clara and Noa Caspi talking about drones + daily check in with Resolute + candle ice breaking + plane arriving)
This is the final episode of the fifth season of the conscient podcast.
(arctic soundscapes: Clara trying to imitate Claude’s style of simplesoundscapes recording while searching for candle ice)
This season began on February 21, 2024 with e154 featuring my son Riel’s research on ethics in science:
I don't think there's going to be any serious response to the climate crisis until real catastrophes start happening. That tends to be how it works. And once you start seeing that, then you'll start seeing very serious action being put in place. Although, we'll see at that point, if it's too late or not.(arctic soundscapes: Clara and Noa talking about recording technology)
This last episode features field recordings that Noa Caspi and Clara recorded during a 2-month field research project at the Cape Bounty Arctic Watershed Observatory on Melville Island in Nunavut during the summer of 2024.
You’ll hear Clara talk about some of her favorite sounds, including the unique vibrations of ‘candle ice’:
I get to the field in early June, and on the lake, there's two to 3 meters of ice and that only melts. Like, the lake is ice free for like, maybe a couple weeks max, sometimes not even at all, depending on the year and how much ice there was and the temperature and stuff. But this really thick ice as it melts, and I don't know exactly how, but it forms into these kinds of candles.(arctic soundscapes : Clara and Noa talking about candle ice + Clara walking around in moss)
In between soundscapes from the arctic, you’ll hear Clara talk about the rapid changes in the Arctic and some of the challenges of envisioning a new future and how art might help us imagine possibilities amidst uncertainty.
(arctic soundscapes : bird song, wind)
Northerners are facing a new world a lot faster than the rest of us are and I'm not sure what to say other than figuring out how to... What's the wording: creating the conditions for the new world… (for other… other possible worlds to emerge – Claude) Imagining what that new possible world could look like is tricky. (And that's what art does - Claude). That's what art does.(arctic soundscapes : Clara and Noa talking about recording in the field)
My conversation with Clara reminded me that scientific knowledge can be transformed into poetic narratives and that we benefit from both scientific and artistic creative work.
One might even speculate that they are more or less the same thing.
(arctic soundscapes : walking on the tundra)
And at any rate.
All of this requires a lot of listening.
*
Sections of the episode (generated by AI and reviewed by Claude Schryer)
Welcome
In this introductory chapter, Clara joins Claude marking the season finale. They discuss the unique perspective of younger generations on pressing issues and the intersection of art and science.A Scientist’s Journey
Clara shares her background, detailing her journey from Ottawa to studying earth system science at McGill. She highlights her passion for the outdoors and how her academic pursuits led her to a master’s program at Queens.The Young Person’s Dilemma
Reflecting on a pivotal conversation from Clara’s past, they discuss the challenges young people face when choosing careers that can address climate change. Clara reveals her evolving mindset about making a difference in the world.Eco-Anxiety and Climate Change
Clara talks about her feelings about eco-anxiety and the complexities of climate change. She emphasizes the importance of focusing on local solutions and the challenges of balancing personal and global concerns.Fieldwork in Nunavut
The conversation shifts to Clara’s fieldwork at the Cape Bounty Arctic Watershed Observatory in Nunavut. She explains the project’s focus on hydrology, soil, and greenhouse gas fluxes, contributing to a better understanding of the global carbon cycle.Journey to the Arctic
Clara describes the logistical challenges of reaching her field site, detailing the multiple flights and stops along the way. She shares insights about the isolation and unique experiences of conducting research in such a remote location.Soundscapes of Nunavut
Clara introduces her recordings from Nunavut, highlighting her experiences doing field recording. She shares her favorite sounds, including the unique ‘candle ice’ and the soothing ambiance of the tundra.Artistic Moments in the Arctic
The discussion turns to the artistic expressions Clara and her team engaged in during their time in Nunavut. From sketching to singing, they explore how creativity flourished amidst the challenges of fieldwork.Navigating Inuit Territory
Clara reflects on the complexities of conducting research in Inuit territory as a southern researcher. She discusses the importance of understanding the historical context and the need for meaningful community engagement.Imagining New Worlds
As they explore the theme of preparing for the end of the world, Clara shares her thoughts on the rapid changes in the Arctic and the challenges of envisioning a new future. They discuss the role of art in imagining possibilities amidst uncertainty.The Poetic Side of Science
Clara discusses the intersection of art and science, emphasizing how scientific knowledge can be transformed into poetic narratives. She reflects on the importance of creative thinking for scientists and the value of storytelling in conveying complex ideas.Hope Amidst Despair
The conversation shifts to the often bleak outlook on climate change. Claude highlights the potential for regeneration and adaptation in the face of environmental challenges.Candle Ice: A Metaphor for Change
Clara shares a poetic metaphor about ‘candle ice’ as a representation of climate cycles, illustrating how dramatic changes can be part of a natural process. This discussion leads to a deeper exploration of destruction and renewal in ecological systems.The Jaded Scientist
Clara talks about the challenges and joys of working in earth science, expressing feelings of futility in the face of the complexity of earth science research. She discusses the importance of transparency in scientific communication and the limitations of research methods.Shifting Focus: From Global to Local
Clara reflects on her evolving interests within the scientific field, expressing a desire to focus on local environmental issues rather than global ones. This shift highlights the interconnectedness of local and global processes in understanding climate change.*
END NOTES FOR ALL EPISODES
Hey conscient listeners,
Thanks for your presence. Season 5 of this podcast is now completed. I'll be back with season 6 on art and culture in times of crisis and collapse (see trailer for details) sometime in 2025.
Background on the conscient podcast
I’ve been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It’s my way to give back and be present.
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 about collapse acceptance, adaptation, response and art’. 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 most conscient podcast and balado conscient episodes from season 1 to 5 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 [email protected] 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 Schryer
Latest update on November 6, 2024
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The planet's not dying. Our place and our version of it may be dying. So how do we deal with that? How do we accept and live with the knowledge that our version of it is dying. It's not something to panic about in the sense that the whole thing's going away, hopefully. We don't know, but I think that notion of living with grace, living without fear, trying to live without anxiety, because those are just places where we flounder, shut off and develop toxic escapes.
(photo of Kenneth Newby by Linda Ofshe)
I first met Kenneth Newby in 2023 at the infamous Lunch Lady Vietnamese street food restaurant on Commercial Drive in Vancouver.
We mostly talked about a book he recommended to me, Learning to Die : Wisdom in the Age of Climate Crisis by Robert Bringhurst & Jan Zwicky, which was transformative for me.
Kenneth is a fellow new music composer and sound artist with whom I shared many ecological concerns including aspirations for the role of art in this era of environmental decline.
So, I invited him to have a conversation, my second last of this 5th season, where we have been exploring how to 'prepare for the end of the world as we know it and creating the conditions for other possible worlds to emerge’.
Kenneth now lives in Victoria. We recorded our conversation in his backyard on September 23rd, 2024. We talked about his journey as a composer and musician, from childhood lessons, experiences in blues bands through to interactive music systems, Indonesian gamelan music and psychedelic experiences, among others.
During our exchange, I was thankful that he shared examples of some of his creative projects that integrate storytelling, ecological awareness, and collaborative solutions about societal and environmental issues. It’s good to hear about both theory and practice.
For example, I was interested in Kenneth's work on the harmonic series as a fractal structure and how he connects it to ecological concepts and ways of being.
My approach has been typically to look at the inner life of a sound, try and tease it out and create some kind of soundscape, a composition that's made out of those inner materials and so I was hugely influenced early on by Cage's notion of silence and sound and Schafer notion of the soundscape and an acoustic ecology.You’ll also hear some of Kenneth’s music in between 3 sections of our conversation.
First is Aria - Ocean of Storms, an excerpt from his ‘Seasonal Round’ project created in collaboration with poet Robert Anthony, which is composed of raw, time-stretched, transposed birdsong.
You’ll also hear Howe Sound, a composition featuring birdsong, a frog chorus and transformed excerpts from Maurice Ravel’s Sirènes movement of his Trois Nocturnes as well as excerpts from Crépuscule for Barbara written for harpist Barbara Imhoff.
Kenneth recommends the following books and film:
The spell of the sensuous : perception and language in the a more-than-human world by David AbramWoman in Nature : The Roaring Inside Her by Susan GriffinFantastic Fungi*
Sections of the episode (generated by AI and reviewed by Claude Schryer)
Introduction
Claude introduces Kenneth and reflects on their previous meeting. They discuss their shared backgrounds in music and philosophy, setting the stage for a deeper conversation about art and the ecological crisis.Kenneth’s Musical Journey
Kenneth shares his early experiences with music, starting with piano lessons and moving through various musical influences. He recounts pivotal moments in his life, including his time at the Creative Music Studio in Woodstock, which ignited his passion for electronic music.Cultural Exploration and Learning
Kenneth discusses his fascination with Indonesian music, particularly the gamelan traditions, and how immersing himself in different cultures has shaped his understanding of music and postmodernism. He emphasizes the importance of cultural relativism in appreciating diverse artistic practices.The Ecology of Sound
The conversation shifts to the relationship between music and ecological issues, exploring how sound can reflect and address the ecological crisis. Kenneth introduces the idea of the harmonic series as a fractal structure, connecting it to ecological concepts.Art and Environmental Awareness
Kenneth reflects on the impact of his music and the broader role of artists in raising environmental awareness. He discusses the challenges of making a significant impact through art while acknowledging the importance of collective efforts in the artistic community.Community Engagement in Art
The discussion turns to the importance of local community engagement in artistic practices. Kenneth shares insights from his projects that focus on situating art within the community, emphasizing the need for relevance and connection in contemporary art.Facing Complexity and Change
Kenneth addresses the complexities of the current ecological crisis and the fear associated with change. He discusses the role of psychedelic experiences in fostering a deeper connection to nature and how they can help individuals navigate the uncertainties of the future.Literary Inspirations and Recommendations
As the conversation nears its end, Kenneth shares his favorite books and films that explore ecological philosophy and the interconnectedness of life. He highlights the importance of literature in shaping our understanding of nature and our place within it.*
END NOTES FOR ALL EPISODES
Hey conscient listeners,
Thanks for your presence. Season 5 of this podcast is now completed. I'll be back with season 6 on art and culture in times of crisis and collapse (see trailer for details) sometime in 2025.
Background on the conscient podcast
I’ve been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It’s my way to give back and be present.
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 about collapse acceptance, adaptation, response and art’. 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 most conscient podcast and balado conscient episodes from season 1 to 5 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 [email protected] 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 Schryer
Latest update on November 6, 2024
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I think if we can reimagine what matters to us and pursue that, then perhaps there's a chance that we can stop this truly self-destructive pursuit of infinite more, and in material terms, become happy with enough, without giving up the idea of personal growth and evolution, because I do think that is core to what it is to be human and even just alive. Life is about growth. The history of life on earth is one of ever more complexity and richness. And I think it would be like, I just don't agree with the argument that we have to stop growing. I think that's totally impossible and depressing. And I think that's often how economic arguments about degrowth versus growth get framed and understood is, well, we just have to sacrifice, and the good times are over, and now it's just less of everything for everybody. And I guess it's kind of depressing, but that's just reality. I don't think it needs to be depressing. In fact, I think it has to not be depressing for it to work. I think it has to be exciting. And the way that I can get excited about it is to think, wow, well, let's just tell better stories and let's focus on. Let's have some fun. Like, we can. Let's enjoy our lives and find ways to enjoy them that can be grown. And to me, art is just the best, most wonderful, inexhaustible resource in all of its forms.
Hi listeners,
This is the 3rd last episode of this 5th season of the conscient podcast. I have produced 54 regular episodes since February of this year plus 6 bonus episodes so that’s a lot of content to digest and I invite you to take your time.
It’s been a lot of fun and I thank all of my guests and their collaborators for their generosity. I’m going to take a break after the last episode, e208 with my daughter Clara Schryer. I’m going to take some time to breathe a bit and prepare for season 6 which will start in 2025 on the theme of ‘arts and culture in times of crisis and collapse’.
So, back to episode e206. Meet Arno Kopecky who is, I think, an upbeat realist. Like I did with e196 alice irene whittaker (part 2) - homing, a book review I will read the introduction to the episode at the top of my conversation, with Arno present, but before we jump in to our conversation, I wanted to share a quote from that episode to give you a preview of what’s coming:
If we look into the past, when I think of what art has done to deal with political problems, for example, or social problems, I think of civil rights and I think of people like Nina Simone, I think of Billie Holiday, I think of Toni Morrison and people and all the so many people like them who produced just incredible music and works of art that absolutely had a message but also sort of transcended that message or found a way. It's so hard to put into words for me how they did what they did. But I feel like there is a whole rich body of work that emanated and proceeded from the atrocity that was slavery and racism and a clear social justice tragedy. But you didn't hear the word social justice in any of Mina Simone's songs or Toni Morrison's books. You know, you heard stories, you heard an outpouring, you felt an emotion, and that moved and transported people, and that operates on such a deep societal level. I feel like it's almost, you know, I think art has a way of seeding social awareness and imagination, and that is almost a precursor or a prerequisite for social change. That then also requires political movements and politicians and civil society and all kinds of the realm of reason and logic and journalism and fact and argument.So, with no further ado, here is my conversation with Arno, recorded on the morning of September 11, 2024 in Vancouver.
Arno Kopecky’s 2014 book The Oil Man and the Sea: Navigating the Northern Gateway won the 2014 Edna Staebler Award.
Arno is a journalist and writer who lives just down the street from me here in east Vancouver so I invited him to talk, and to do a soundwalk with me about his most recent book, The Environmentalist’s Dilemma: Promise and Peril in an Age of Climate Crisis, published by ECW press.
I was also curious about Arno’s thoughts on art, the ecological crisis and the multiple dilemmas that we face as we work our way through the trappings and self destructive tendencies of modernity, while trying to retain, in a sustainable way, some of its benefits.
There are many great stories and tales in the book, such as the dilemma faced by people on a boat about to fall over Niagara Falls : should they ignore it, should they change directions or simply accept their fate and have a drink?
I recommend the book, in particular the audiobook version narrated by Marvin Kaye, who really brings this set of essays to life.
The Environmentalist’s Dilemma confirms that our planet is dying due to gross misbehaviour, however, Arno also observes that humanity, ironically, is doing better than ever. What's that about?
I enjoyed the book because it provided me with insights into a daily dilemma : how to live well and comfortably in this world while denouncing and rethinking it fundamentally.
I remember listening to the book while biking to Victoria BC and having to stop to catch my breath at a passage in chapter 6 called ‘let’s get drunk and celebrate the future’, where Kopecky suggests that we get drunk and give up, to which I screamed out loud : yes, yes,! I’m in! It was a cathartic moment for me because I sometimes feel like giving up hope and just getting drunk or high or…
It’s actually quite sane to say these things out loud. It allowed a reader like me to break through emotional barriers and find ways to get on with the work of reimagining life on earth, one step at a time.
I was happy to see that the book has been well received as witnessed by some of the positive reviews I read. For example, the Literary Review of Canada wrote that :
In the author’s hands, the book’s titular dilemma emerges in all its richness, ambiguity, and tension as a foundational opportunity and challenge for contemporary environmentalism.Well said. I agree. Kopecky questions some of our most ingrained assumptions and biases with journalistic rigour and may I say humour.
The Ormsby Review observed that :
The value of The Environmentalist’s Dilemma is this hope, that though we are in some ways stuck within a system that limits our options, we can make little acts of rebellion against the system. Our little actions may add to the little actions of millions of others, and may one day change the world.Now I have to admit that I’ve always believed that the accumulated impact of millions and even billions of small scale local actions can change the world. For example, in the final chapter 13 ‘Every Little Thing’, Kopecky writes about Czech writer and politician Vaclav Havel and how his words and grit helped to ignite a seemingly impossible revolution in Eastern Europe in the 1980s.
Can we do this again at a global scale?
How can we laugh at our predicament and still do the hard work ahead of us?
Fortunately, Arno is sitting right in front of me here in east Vancouver, on this morning of September 11th, 2024 and has kindly agreed to talk with me about all of this.
Arno’s recommendations were:
Res Rules by Chief Clarence Louie Tarun Nayar (modern biology)*
Episode Chapters (generated by AI and reviewed by Claude Schryer)
Introduction
Claude welcomes journalist and author Arno Kopecky, setting the stage for a discussion on his latest book, ‘The Environmentalist Dilemma.’ The conversation hints at the complex relationship between modernity and sustainability.The Environmentalist Dilemma
Kopecky explores the paradox of living well in a world facing environmental destruction, sharing personal reflections on the emotional struggles tied to ecological awareness. The chapter emphasizes the challenges of reconciling modern comforts with environmental concerns.Hope, Small Actions, and Personal Background
Kopecky discusses the importance of hope through small, individual actions and shares his journey from a middle-class upbringing to becoming an environmental journalist. He highlights pivotal moments that shaped his awareness of environmental issues.The Housing Crisis and Urban Development
The conversation shifts to the housing crisis in Vancouver, where Kopecky supports urban densification as a potential solution. He acknowledges the complexities of balancing development with environmental concerns.The Paradox of Progress and Environmental Crisis
Kopecky delves into the paradox of modern life, discussing how improvements in quality of life coincide with unprecedented environmental threats. He articulates the conflict between enjoying modern benefits and confronting ecological degradation.Reimagining Growth, Happiness, and Art
Kopecky challenges societal obsessions with growth, proposing a new understanding of happiness that values creativity and art. He explores the role of art in fostering resilience and community in times of crisis.Art and Social Change
Kopecky discusses the historical role of art in addressing social injustices, citing influential figures like Nina Simone and Toni Morrison. He argues that while art can seed social awareness, it must be complemented by political movements for real change.The Power of Individual Action and Navigating Modern Freedom
Kopecky reflects on the impact of individual actions through the story of Vaclav Havel’s shopkeeper, illustrating the potential for broader societal change. He also discusses the paradox of modern freedom and the need for a collective shift towards sustainability.Personal Transformation and Literature in Crisis
Kopecky shares a personal narrative about his father’s transformation into an environmental activist, highlighting the potential for change at any stage of life. He also references literature’s response to the ecological crisis, calling for more storytelling on these pressing issues.Imagining a Sustainable Future and Recommendations
Kopecky concludes with a hopeful vision for a future prioritizing relationships and community over consumption. He shares recommendations for further exploration, encouraging listeners to engage with diverse narratives that challenge conventional perspectives.
*
END NOTES FOR ALL EPISODES
Hey conscient listeners,
Thanks for your presence. Season 5 of this podcast is now completed. I'll be back with season 6 on art and culture in times of crisis and collapse (see trailer for details) sometime in 2025.
Background on the conscient podcast
I’ve been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It’s my way to give back and be present.
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 about collapse acceptance, adaptation, response and art’. 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 most conscient podcast and balado conscient episodes from season 1 to 5 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 [email protected] 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 Schryer
Latest update on November 6, 2024
-
In the face of destruction, we should create. In the face of hurt, we should heal. In the face of hate, we should love. That's my feeling and figuring out how to do that is everybody's job.
I’ve known Sheila James for 25 years as an arts funder colleague, artist, filmmaker, writer, but also her work as an equity expert, social activist and as a family friend.
Our conversation began with an overview of her views on equity and how it differs from equality. For example:
Equity is actually acknowledging that for some people who are disadvantaged, you need to do more. You can't just say, everything's fair. Everybody gets the same bowl of pudding.We also touched on equity in the arts such as the biases and systemic injustices that exist within cultural institutions. We also talked about the historical context of arts funding in Canada, notably missed opportunities for support of Indigenous and diverse cultural practices.
We also talked about Sheila’s multidisciplinary art practice, including her writing. I clearly recall reading The Arrangement, from her book of short stories, In the Wake of Loss, at the cottage and feeling a deep connection with her engaging stories as I walked in the forest.
I asked Sheila to talk about her new novel ‘Outcaste’, published by Goose Lane Editions, launched on May 7, 2024. It explores caste and class complexities in Hyderabad during India’s independence, highlighting a communist rebellion, caste dynamics, and land reform.
I was pleased that Sheila agreed to read two excerpts from this novel that bring to life the struggles and resilience of her characters. The first you’ll hear is set in 1948 in Korampally, India and is about the character Malika, a Muslim peasant imparting her hopes for her daughter amidst rebellion. It will be followed by an excerpt from Sheila’s You Will have Worth.
The second excerpt is set in 1997 in Toronto and is about Anya visiting her grandfather Irwin at the Queen Street Mental Health Centre. This section reflects upon familial bonds and emotional support in grief. It will be followed by an excerpt from Sheila’s Thru The Eyes.
As we spoke about her book and literature more generally, Sheila emphasized the importance of empathy when engaging with characters in the book. I like the way she encourages readers to find compassion even for the most detestable characters, as this can foster understanding and potential for redemption, for example :
I hope that if people are picking up the book, that they're very open minded and try to read the characters or listen to the characters where they're at. There are some horrendous sort of characters, or I should say, there are some people who do some horrendous things in this book.Our conversation concluded around the responsibilities of artists in today’s complex world, emphasizing the importance of listening, questioning, and dreaming.
I like Sheila’s thinking on this:
I love the idea of listening and really taking that time to listen, because I don't think we do that enough and that means listening not only to the things we want to hear, but the sides that we don't want to hear of.Sheila is currently reading for the second time:
The In-Between World of Vikram Lall by M.G. Vassanji
And reading for the first time: Salvage : Readings from the Wreck by Dionne Brand
*
END NOTES FOR ALL EPISODES
Hey conscient listeners,
Thanks for your presence. Season 5 of this podcast is now completed. I'll be back with season 6 on art and culture in times of crisis and collapse (see trailer for details) sometime in 2025.
Background on the conscient podcast
I’ve been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It’s my way to give back and be present.
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 about collapse acceptance, adaptation, response and art’. 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 most conscient podcast and balado conscient episodes from season 1 to 5 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 [email protected] 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 Schryer
Latest update on November 6, 2024
-
gliding towards a crash
reflections on this moment
Note: This bonus episode is from my ‘a calm presence’ substack about ‘short, practical essays about collapse acceptance, adaptation, response and art’. Cover photo was taken by me at Tribune Bay, Hornsby Island, BC on September 17, 2024.
Friends and colleagues often ask me why I focus my energies on ‘anticipating, observing, and experiencing societal disruption and collapse’ (deep adaptation forum).
A good question.
Instead of societal collapse, Arno Kopecky (author of The Environmentalist’s Dilemma: Promise and Peril in an Age of Climate Crisis and an upcoming guest on conscient e206), suggested to me in a September 14, 2024 email that I consider focusing on :
a thriving society lens so that we’re running toward something beautiful, rather than fleeing something terrible.A good point.
Arno also mentions that ‘ultimately it's the same thing’, e.g., that societal collapse and societal revitalisation follow essentially the same path, but I would agree that running towards something positive is more interesting (and useful than the negative).
Duly noted (as they say on the Canadaland podcast).
However, I have to admit that I quite often fall into collapse rabbit holes and sometimes can’t see the light so I call upon guests from previous episodes, such as e165 bill crandall - art can change us
Being an artist, or making art, in the context of climate is more about being a kind of light in the darkness, making us believe in ourselves and believe in the future so that we want to endeavor to save the thing that we have, our habitat. Some people like to say art can't change the world, but art can change us. Then we can change the world more effectively.So here’s my answer to the ‘focus’ question.
It’s a story about a story that I recorded in e202 coman poon - what are you doing with your life ? :
When I first met Vanessa (Andreotti) in 2019, I think she shared this story with me about, you know, the metaphor of the plane crashed as a way of talking about the time of the great turning, so to speak, for lack of a better term. And this idea is that there is no. There is no prevention of the crime, right? If you and I, and, you know, every living thing that is on, so called, the plane is on Pachamama, Mother Earth with us, we're going through a crash. We're going through, you know, six, extinction, we're going through climate collapse, geopolitical collapse, economic collapse, all types of overlapping, interlaced cycles of destruction. And like on planes, what you can do, at best, is to get ready for a glide as opposed to a hard landing, because that means some will survive, and those that survive aren't necessarily the lucky ones. So while we're on the plane, you know, instead of putting on our noise canceling earphones, pretending that we're not in a sardine can, we could try turning to each other, saying hello. So many things can happen between the moment when we know the plane is going to crash, that there's no getting away from that and the crash itself. So my invitation is to the listeners, what are you doing? What are you doing before the crash, in this time? What are you doing with your life? How are you going to actually weave connection? Because it's still possible to operate without hope. It's absolutely imperative.‘Saying hello’ is what I try to do with every ‘a calm presence’ posting and also the conscient podcast - balado conscient.
Saying hello in Coman’s way.
I don’t feel doomist, defeatist or nihilistic in saying that.
I don't feel like I’m being overly negative, proselytizing, virtue signalling or being self-righteous, though I have certainly done that in the past, and probably will again.
I produced an episode about this: e111 traps - what are the traps in your life?:
Observer: I see a trap called proselytizing which happens when people try to teach and convince others that a particular issue of interest should be the most important thing for everyone. Me: Wait a second, I do that all the time as a climate activist and with my art and ecology podcast and… Observer :(interrupting) of course you do and well you should - no worries - but, the danger is that your work could be perceived as an effort to assert ‘moral high ground’ and while this trap may be driven by a genuine passion for an issue, and you certainly are passionate about your work, it has the potential to impose onto others in a way that does not respect their own un/learning journey, and often actually has the opposite effect, pushing people away rather than inviting them in. Me: Ya, Ya, I see. Let me think about that.Observer: Sure and when this trap occurs, it can be useful to ask, for example, why do I need to teach or convince or inspire others about my learning experience? Where is this perceived need stemming from? And if you really feel you need to bring something to the attention of others, maybe you can ask yourself: What is the most pedagogically responsible and effective thing to do so that your message can land?But this is different.
It feels good to accept reality.
Not good, good because it’s actually awful and very painful, as we feel the disappearance of life unfold around us but for it’s better to accept reality than to live in denial.
It’s better to undergo a lens shift and therefore see and feel things as they really are.
It’s better to be ready to die at any moment knowing that the truth of that moment was our final breath.
Now none of this is new. Buddhism and similar spiritual practices have been teaching us this forever.
So what’s next?
I try keep this excerpt from Robert Janes’ Museums and Societal Collapse : The Museum as Lifeboat in mind:
Hopeless need not mean helpless. On the contrary, hopelessness is the springboard to helpfulness – supportive, effective, and useful.’In other words, how to be supportive, effective and useful while living on a plane that is gliding towards an inevitable crash.
My energy is not focused on fixing that gliding plane in mid-flight - tempting as that might be - but rather to focus on those who survive the crash so that they might have a fresh start.
And for those who follow the conscient podcast season 6 will beginning sometime in 2025 on ‘art and culture in times of crisis and collapse’:
Claude: Welcome to conscient podcast, Bob. Bob: Well, thank you very much. It's a pleasure to be here. Claude: Now this is the beginning of season six, so I'm quite excited. And it's also early days. Today is Monday, September 16th, 2024, and we're at your farm (on Denman Island) and we've just been walking around with your son. It’s actually not your farm, but your son's farm or both of you. Bob: It's a partnership. . Claude: So I'm not absolutely clear what season six is going to be in the end - t's early days- but I do know that I want to talk about art and culture in times of crisis and collapse and I see your book in front of me here called Museums and Societal Collapse : The museum as Lifeboat…I’m also working on an Artist Survival Kit.
I sometimes think it should be called ‘Artist Thriving Kit’ but I’m not there yet.
Thanks for listening.
*
END NOTES FOR ALL EPISODES
Hey conscient listeners,
Thanks for your presence. Season 5 of this podcast is now completed. I'll be back with season 6 on art and culture in times of crisis and collapse (see trailer for details) sometime in 2025.
Background on the conscient podcast
I’ve been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It’s my way to give back and be present.
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 about collapse acceptance, adaptation, response and art’. 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 most conscient podcast and balado conscient episodes from season 1 to 5 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 [email protected] 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 Schryer
Latest update on November 6, 2024
-
I'd like to use art more as a tool to get people thinking, get people involved, especially young people, and hopefully, help them process the emotions of climate change and move towards a space of action and hope. At least for me, as a young person, art felt like the way to have my voice be heard, and I hope to help other people experience that as well.
I first heard about Sophie Weider from an email she sent me on August 14th, 2024. With Sophie’s permission, here is an excerpt:
My name is Sophie and I am a recent graduate from the Sustainability, Science, and Society Interfaculty Program at McGill University as well as an artist working to foster climate hope and inspire action through my work. I recently discovered the conscient podcast and have been absolutely hooked on it. It has been the most heartwarming, uplifting, and inspiring experience for me. Your empathy and care shows in the thoughtful questions you ask in your interviews. Thank you for creating this wonderful resource for us all to learn from and enjoy! I have been working in the intersection of the climate and arts spaces for some time and found it to be incredibly validating to hear the stories of so many amazing people doing similar work in your podcast episodes.Now that’s very flattering and I appreciate the feedback. Sophie and I had coffee in Ottawa a few days later. We talked about the role of art in facilitating inclusive processes for envisioning a more just and sustainable future and Sophie mentioned some of the projects that she is involved with, including Zine for Hope a creative platform for youth to voice their perspectives on climate change and their hopes for a better future. And what is that better future? I ask myself everyday. It’s sometimes hard to imagine but Sophie believe in arts as a connector and I agree with her that :
Something that I really think is valuable about art is that it doesn't hold one objective reality to be true, and instead it allows for multiple subjective perspectives to coexist. Because while it's valuable to have science that tells us the answers, it's sometimes hard to know that this is the answer and not this one, especially when it comes to more subjective experiences, like, how should we relate to our living environment? There are various different perspectives from western science to indigenous knowledge that we can learn from and I think that art can help us see all those things together at once and figure out our own perspectives based on that.I invited Sophie to have a conversation with me as part of a series of with people in their 20’s, including e154 - the art of history and gaming with my son historian Riel Schryer (also my son), e200 maggie chang - the power of art with environmentalist, poet, writer, and artist maggie chang and the final episode of season 5, with earth systems scientist Clara Schryer (also my daughter). These four young people, and their peers, inspire and motivate me.
Sophie is also an artist who wrote and illustrated two children's books, ‘The Girl Who Saved a Tree’ (2018) and ‘Who?’ (2020) that explores environmental change and activism to inspire young people to become change-makers in their communities.
Sophie and I talked about who is an artist and what is art, which reminded me of my conversation with another Ottawa artist Barbara Cuerden in e167 barbara cuerden - tending the garden of art:
The garden doesn't have to be something that's instrumental. It can be just a place where you sit, where you're thinking of growing something, you know, where the sun shines and where photosynthesis takes place and everything is sort of manifested through the sunlight and the water. It's a fantastic thing on its own without actually having to produce a lot of stuff.Here’s an excerpt of what Sophie has to say about gardening as art :
Isn't everyone an artist? Don't we all imagine and create in some way or another? You know, even, like, I like to think about gardening as an art. This summer, through my work, I worked with a non for profit called EnviroCentre, and we did a lot of gardening, a lot of planting and weeding of green spaces around the city. And I really think it's an art. You know, it involves creatively deciding where the plants are going to go, and it involves, you know, working with your hands to make something beautiful. And it involves a lot of thought and reflection. And I think that's what art is all about.I was honoured that Sophie reached out to chat about our shared passion for art and ecology and was not surprised to hear that she was a top 25 environmentalists under 25 in 2021 of Starfish Canada, an organization that supports youth environmental change makers through storytelling and community.
Sophie recommends the following podcasts and music:
Heart Gallery podcast by Rebeka Ryvola de Kremersolacene podcastLocal Valley album by Jose Gonzalez*
END NOTES FOR ALL EPISODES
Hey conscient listeners,
Thanks for your presence. Season 5 of this podcast is now completed. I'll be back with season 6 on art and culture in times of crisis and collapse (see trailer for details) sometime in 2025.
Background on the conscient podcast
I’ve been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It’s my way to give back and be present.
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 about collapse acceptance, adaptation, response and art’. 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 most conscient podcast and balado conscient episodes from season 1 to 5 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 [email protected] 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 Schryer
Latest update on November 6, 2024
-
All artists have to be aware of climate because otherwise it's not art (and that's going to piss some people off - Claude Schryer). I think it will. Climate infuses all our responses to everything, to relationships, to our culture, to our history. You can't ignore the climate that it's happening in, and that's why it has to be somehow in the art that you are involved with.
Leslie Reid, an Ottawa based artist and educator, has been influenced by her family’s military background transitioning from political science to art. Her work explores sensory and emotional responses to environments, shaped significantly by a pivotal experience at a decommissioned lighthouse in Newfoundland. It’s a really good story.
This led her to themes of isolation and family tragedy, often incorporating historical and contemporary imagery to document changes in the northern environment.
During our conversation I read to her an excerpt from her artist statement that helped me understand her art practice:
The works, in painting and also print, photography and video, explore the physical and perceptual sensations of our experience of a site and the signs of lives lived there, working with liminal states of light and space. Through the ambiguities and uncertainties experienced in this visual field, I seek a thought-provoking and resonant emotional response to the act of seeing, and ultimately to being.We also discussed navigating cultural sensitivities. Leslie shared her reservations about working in the North and the importance of respecting Indigenous narratives. She also recounted her interactions with Inuit voices and the challenge of presenting their stories authentically without appropriation.
Leslie also had some advice for aspiring artists - given that she is a long time teacher of art at the University of Ottawa - to focus on their personal responses to culture rather than conforming to trends, highlighting the importance of internal reflection and the role of climate in shaping their artistic journey.
Overall, Reid stresses the importance of sensory experiences in motivating climate action and values feedback on her work. For example :
Because it's my senses that have taken me to the work, to the place, to those ghosts, and not wanting to commune with them, not wanting to bring them to the present, necessarily, just to let that lived presence be where it is. It is in our own sensations and until we have sensations within ourselves about climate and what it means, we can't do anything about it. We have to have something that triggers an internal desire to do better, to rescue, even on a very small scale…After we concluded our conversation Leslie mentioned ‘that all artists must acknowledge climate change in their work’ which I recorded as a coda and have used as the opening quote of this episode. I agree and hope it creates a debate about how climate context shapes all of our responses and relationships - climate in the largest sense of climate - therefore making it an essential element of meaningful art.
Leslie’s recommended readings include:
US Arctic Research Commission Daily Newsletter (free subscription)The Independent Barents Observer (free subscription)Our Ice is Vanishing (Sikuvut Nunguliqtuq) by Shelley WrightBurning Ice by Cape Farewell - Art and Climate ChangeThe Right to be Cold by Sheila Watt-CloutierThe Future of Ice by Gretel Ehrlich*
Sections of the episode (generated by AI and reviewed by Claude Schryer)
Introduction
In this opening chapter, Claude welcomes Leslie Reid to the podcast, setting the stage for an engaging conversation about her artistic journey and connection to the Ottawa community.
Leslie’s Artistic Journey
Leslie shares her background, detailing her transition from political science to art, and how her experiences in England shaped her artistic vision and connection to the landscapes that inspire her work.The Influence of Landscape
On her return to Canada she rediscovered Calumet Island, home of her maternal grandmother and site of years of summer long family camping on the shores of the Ottawa RIver while her father flew with photo squadrons in the North. This rediscovery led to her first large light and space works. Exploring the emotional depth of her art, Leslie discusses how these personal memories and landscapes intertwine, leading her to create works filled with historical and emotional resonance.
Environmental Themes in Art
Leslie reflects on the gradual infusion of environmental concerns into her artwork, driven by personal experiences and a growing awareness of climate change and its implications.Reconnecting with the North
Leslie recounts her journey to retrace her father’s flights in the Arctic, using art to document the environmental changes she observed and the stories tied to those landscapes.Art as a Medium for Awareness
In this chapter, Leslie discusses the role of art in raising awareness about climate change, emphasizing its contemplative nature and ability to evoke emotional responses rather than immediate action.Experiences with Indigenous Communities
Leslie shares her transformative experiences with Indigenous communities in the Arctic, highlighting the importance of storytelling and connection to the land in understanding climate issues.Voices of the Arctic
In this reflective chapter, Leslie discusses her efforts to capture contemporary Inuit voices and experiences, emphasizing their resilience and adaptation in the face of climate change.The Challenge of Hope
Leslie discusses the daunting reality of climate change and the limitations of art in conveying urgency. She reflects on the difficulty of adapting to a growing global population and the underlying desires that drive consumption and environmental impact.Cultural Resilience in the Face of Change
Exploring the adaptability of Indigenous communities, Leslie shares insights on how the Inuit culture responds to climate challenges. She emphasizes the importance of their lived experiences and the stories that need to be shared to highlight their resilience.Art as a Medium of Connection
Leslie articulates how art serves as a bridge to connect with the past and the ethereal, allowing individuals to engage with climate issues on a sensory level. She believes that genuine artistic expression can evoke internal desires to act on climate change.The Importance of Northern Perspectives
The conversation shifts to the significance of understanding the Arctic and its cultures, as Leslie reflects on her experiences in the North. She advocates for greater awareness and dialogue about the impact of climate change on these communities and their ways of life.Navigating Cultural Sensitivity
Leslie shares her reservations about working in the North and the importance of respecting Indigenous narratives. She recounts her interactions with Inuit voices and the need to present their stories authentically without appropriation.Advice for Aspiring Artists
Offering wisdom from her years of teaching, Leslie encourages young artists to focus on their personal responses to culture rather than conforming to trends. She highlights the importance of internal reflection and the role of climate in shaping their artistic journey.Finding Community in Art
Leslie discusses the challenges young artists face in feeling isolated and the necessity of finding community. She emphasizes the importance of connection and collaboration in fostering creativity and addressing pressing issues like climate change.Engaging with Current Literature
Leslie shares her reading habits, focusing on Arctic research and political commentary, and highlights the relevance of historical literature in understanding contemporary issues. She reflects on how these readings inform her artistic perspective and awareness of climate.The Role of Artists in Climate Awareness
In a poignant closing reflection, Leslie asserts that all artists must acknowledge climate change in their work. She argues that the climate context shapes our responses and relationships, making it an essential element of meaningful art.
*
END NOTES FOR ALL EPISODES
Hey conscient listeners,
Thanks for your presence. Season 5 of this podcast is now completed. I'll be back with season 6 on art and culture in times of crisis and collapse (see trailer for details) sometime in 2025.
Background on the conscient podcast
I’ve been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It’s my way to give back and be present.
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 about collapse acceptance, adaptation, response and art’. 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 most conscient podcast and balado conscient episodes from season 1 to 5 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 [email protected] 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 Schryer
Latest update on November 6, 2024
-
We're going through a crash, the sixth extinction, climate collapse, geopolitical collapse, economic collapse, all types of overlapping, interlaced cycles of destruction. And like on planes, what you can do, at best, is to get ready for a glide as opposed to a hard landing, because that means some will survive, and those that survive aren't necessarily the lucky ones. So while we're on the plane, instead of putting on our noise canceling earphones, pretending that we're not in a sardine can, we could try turning to each other and saying hello. So many things can happen between the moment when we know the plane is going to crash, that there's no getting away from that and the crash itself. So, my invitation is to the listeners : what are you doing before the crash, in this time? What are you doing with your life? How are you going to actually weave connection? Because it's still possible to operate without hope. It’s absolutely imperative. (as told to Coman by Vanessa Andreotti in 2019)
‘In this episode, we delve into the life and work of Coman Poon, whose journey from colonial Hong Kong to contemporary Canada shapes his unique approach to art and community engagement. His story includes embracing change, fostering connections, and advocating for social and environmental justice.‘
Sounds pretty good, right? This paragraph was actually written by artificial intelligence software Whisper Transcribe. It’s a good tool but it makes Coman’s work sound a bit … dry.
Let me try reading a bit of Coman’s bio written, I assume, by a human.
Intersecting with his varied inter-arts collaborations, Coman Poon is a bilingual inclusion and intercultural advocate, community and organizational developer, decolonial and indigenous ally of Hong Kong & Toronto upbringing. With Erica Mott, he co-founded re[public] in/decency (Chicago/Toronto), an arts-activist initiative and creative think tank that explored the transnational intersections between live art, social justice activism and arts-informed pedagogy. Since 2013, Coman has been collaborating with his spouse, architect and installationist Brian Smith, under the moniker of [ field ], a life/art collaboration which explores the interstitiality within ritual and performance. Becoming Ten Thousand Things is his collaboration with dancer Naishi Wang centred in contemplative Taoist performativity. With Diana Lopez Soto, Coman co-founded Land Embodiment Lab (LEL), which holds space for the intersection of agroecology, land stewardship and arts practices through research into/of labour. As artist and consultant, Coman chose to be no longer active on social media and has intentionally deleted his website.
That’s more like it but still a bit removed from what I experienced when I spoke with Coman :
I want to be of service, and I am of service in a number of different ways. And it's not always as an artist, it's not always through making and sharing something I've made. Sometimes it is around reweaving social connection in preparation for political battle. And I contribute in the particular way I do because I know the skills that I have.So, as you can hear, Coman likes to apply his skills and knowledge in various contexts. For example, in a reevaluation of our relationship with nature and in fostering connections to navigate impending global crises.
The earth has something to teach. If we pay attention. The land and waters and also the more-than-human have something to offer. It's my job to listen, it's my job to notice, it's my job to steward, to tend, and to the best of my ability, to offer something that is going to be an act of reciprocity.Coman also invites us to explore how art can be a powerful catalyst for change and a way to build resilient communities, which will likely be very important for those who survive that gliding plane crash he told us at the beginning of this episode.
I think the arts teaches me particularly because as a creator and also as an expressive arts therapist and coach, that the pathway to moving the dial has to always happen at the speed of trust. So it's relational. It's from moment to moment. It's rooted in presence.A heads up that this is a longer than usual conversation in three parts : the first was recorded in my living room while Coman was recovering from a cold, the second was a soundwalk in Rupert, Québec and the third was in front of my house in Ottawa. They are presented in this order.
*
Sections of the podcast (generated by Whisper Transcribe AI and reviewed by Claude Schryer)
Welcome
In this opening segment, the host introduces Coman Poon and the importance of discussing art’s role in social change and ecological crises.Coman’s Journey: From Hong Kong to Canada
Coman shares his background, detailing his early life in British colonial Hong Kong and his immigration to Canada, which shaped his identity and artistic perspective.Art’s Impact on Social Change
Coman reflects on his multifaceted identity as an artist and activist, emphasizing the significance of art in addressing social issues and the need for artists to engage deeply with their communities.Nurturing Transformation in Arts Organizations
Coman recounts his involvement with Can-Asian Dance, detailing the challenges faced and the strategies implemented to revitalize the organization and support emerging artists.Community and Collaboration: The Arcadia Experience
Coman describes his life in the Arcadia artist cooperative, discussing community dynamics and the impact of COVID-19 on the artistic landscape.Reigniting Community Through Art
Coman shares the success of the Arcadian Art Gallery story exchange, highlighting how the initiative fostered connections and storytelling among community members.Hyperlocal Art Initiatives
The discussion turns to the importance of hyperlocal art projects, exploring how these initiatives can strengthen community ties and address local issues.Bathurst Quay: A Community in Transition
This section explores the challenges faced by Bathurst Quay during the summer months, emphasizing the importance of creating community spaces to reclaim a sense of belonging amidst change.Anticipating Change: The Future of Bathurst Quay
As federal aviation laws evolve, concerns about the potential expansion of the island airport arise, prompting local artists and activists to foster community connections and prepare for upcoming challenges.The Role of Art in Social Change
This segment examines the complex relationship between art and social change, questioning how artists can contribute to community issues while maintaining the essence of their craft.Innovative Projects: Art Meets Environmental Awareness
The section presents collaborations between local artists and community members to create projects focused on environmental awareness, aiming to inspire collective action among residents.Art as a Reflection of Nature
In this section, the discussion shifts to an exhibition that explores the interconnectedness of humans and nature through art, challenging conventional views on environmental issues.Reconnecting with Our Senses
The conversation delves into how art can help us reconnect with latent sensibilities beyond our five traditional senses, illuminating our experiences in urban living.The Pathway of Trust in Art
This section discusses the importance of trust in the artistic process, particularly in community hospice and expressive arts therapy, emphasizing relational dynamics for meaningful engagement.Land Embodiment Lab: A New Initiative
The introduction of the Land Embodiment Lab highlights a project aimed at bridging agroecology, community development, and art practice, reflecting on transformative experiences with the land.Rethinking Consumption and Agency
This section explores the concepts of underconsumption and consumer agency, discussing how individual choices can influence systemic changes and the importance of informed consumption.Indigenous Stewardship vs. Western Conservation
The discussion contrasts indigenous land stewardship practices with Western conservation methods, advocating for a more integrated approach to environmental management.Listening to the Land: The Role of Humans
Claude and Coman reflect on the importance of deep listening to the land and understanding human impact on ecosystems, advocating for thoughtful interventions in nature.Art in Times of Crisis
This section addresses the role of art during crises, examining how artistic expression can provide solace and solidarity amidst chaos while highlighting the challenges artists face.Lessons from the Pandemic: Rethinking Artistic Value
The speakers reflect on the pandemic’s impact on the arts, emphasizing the importance of supporting artists as essential contributors to society, particularly during crises.Preparing for the Crash: A Call to Connection
The final chapter presents a metaphorical reflection on the impending crises facing humanity, encouraging listeners to cultivate connections and community in the face of uncertainty.
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END NOTES FOR ALL EPISODES
Hey conscient listeners,
Thanks for your presence. Season 5 of this podcast is now completed. I'll be back with season 6 on art and culture in times of crisis and collapse (see trailer for details) sometime in 2025.
Background on the conscient podcast
I’ve been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It’s my way to give back and be present.
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 about collapse acceptance, adaptation, response and art’. 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 most conscient podcast and balado conscient episodes from season 1 to 5 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 [email protected] 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 Schryer
Latest update on November 6, 2024
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I believe that we are all connected by these invisible threads, the shared sinew amongst all living things, that includes humans, plants, animals, what have you, and that what art is, is the lighting up, making those invisible threads visible. … It doesn't really explain in that analogy what art is, but it certainly speaks to the way it functions and why it should matter to society : why arts should matter.
In this episode, Robin Sokoloski (she/her) discusses her recent experiences and current work in the arts research sector with a focus on how the arts community can have meaningful impact on climate change and on community-engaged arts, emphasizing the importance of relationships and collaboration in creating impactful art that resonates with communities.
Robin has been working in the arts and culture sector for over twenty years. I remember her coming to us while I was working at Canada Council with this crazy idea for Mass Culture and 20 years later it is wonderful organization where she is Director of Programming and Research of Mass Culture, where Robin is working with academics, funders and arts practitioners to support a thriving arts community by mobilizing the creation, amplification and community informed analysis of research.
My last conversation with Robin Sokoloski was e61 from research to action in 2021. This time we focused on the end of the world as we know it and the role of art came up, including how to use tools such as the Living Climate-Impact Framework for the Arts project, (see e195 emma bugg - art, scholarship and environment for details) and how to better mobilise the arts sector around climate change.
Robin, who is a co-founder of SCALE and a leading voice in the Canadian arts service organisation climate action movement and I like her ideas:
We're so good at bringing people together and having conversations, as an arts community, on a very surface level about very serious, complex issues. But we need the tools beyond just facilitation and different convening models. We actually need measuring sticks or whatever is at our disposal that we can feel confident in to be able to have those deeper level conversations. And that's what this framework does. I'm noticing as I'm bringing the art service organizations together around these conversations around climate, it's been very focused on climate mitigation. Fine, fair enough. I think that's a very important and valuable thing to be aware of. But now, whether we like it or not, we're at a point where we need to start thinking about climate adaptation. And this is a new frontier for me. I know it's also a very new space for the funders. And so what I think we need to be able to do, and what I feel very proud of what we're starting to achieve, is bringing both the funders together with different actors within the arts community to apply tools like Emma's framework to have these deep conversations about how we can move towards action. What does this look like for us now? What changes do we need to make?Robin also believes in community-engaged arts and the in ‘walking her talk’ by integrating participatory processes in everything she does:
Community engaged arts is really a set of principles that I have completely been able to live by throughout my career. So fortunately, specifically within mass culture, I align community engaged arts very closely to a methodology within academia called participatory action research. And what's so relevant and how I feel that community engaged arts can have a real significant impact on art and climate is because of these principles which always rate relationships above anything else.After our conversation, I wrote to a friend that ‘Robin is one of the holders of key knowledge for the future of the arts in this country’ and I think she’s just getting started.
Robin recommends the following resources:
Research in Residence: Arts’ Civic Impact by Shawn NewmanEmergent Strategy by Adrienne Maree BrownDesigning Immersive Gatherings workshop by Zach Morris*
Sections of the podcast (generated by AI and reviewed by Claude Schryer)
Welcome Back
In this introductory chapter, Claude welcomes Robin back to the podcast after three years, setting the stage for an engaging conversation about art, climate change, and community arts.Introducing Robin Sokoloski
Robin shares her background, including her roots in Brantford, Ontario, and her role as the director of Mass Culture, emphasizing the importance of understanding the art sector’s impact on society and the environment.The Climate Crisis and Art’s Role
The discussion shifts to the current climate crisis, with Robin reflecting on her work related to environmental issues and how the arts community can contribute to meaningful change.Living Climate Framework for the Arts
Robin explains the Living Climate Framework for the arts, a tool designed to help the arts community navigate complex conversations about climate action and its intersection with art.Barriers to Engagement in the Arts
The conversation delves into the barriers faced by arts organizations in addressing climate change, highlighting the need for deeper discussions and tools to facilitate meaningful engagement.Community Engaged Arts
Robin discusses the principles of community engaged arts, emphasizing the importance of relationships and collaboration in creating impactful art that resonates with communities.The Future of Arts in a Changing World
The discussion turns to the future of community arts in the face of societal changes, exploring how arts can foster solidarity and cooperation in local communities.Arts as Meaning Makers
Robin reflects on the role of the arts in making meaning of the world, especially in a time when trust in information is crucial, and how artists can narrate diverse truths.Recommended Reads and Resources
Robin shares her current reading list, including insights from research on civic impact in the arts and the importance of experience design in bringing people together.
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END NOTES FOR ALL EPISODES
Hey conscient listeners,
Thanks for your presence. Season 5 of this podcast is now completed. I'll be back with season 6 on art and culture in times of crisis and collapse (see trailer for details) sometime in 2025.
Background on the conscient podcast
I’ve been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It’s my way to give back and be present.
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 about collapse acceptance, adaptation, response and art’. 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 most conscient podcast and balado conscient episodes from season 1 to 5 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 [email protected] 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 Schryer
Latest update on November 6, 2024
-
I really think art is one of the most important things to help tackle issues and create social change. There's that quote from Maya Angelou that goes something like ‘people will forget what you say or do, but they'll never forget how you make them feel’. The power of art is to evoke feelings that stick with people and that's often what inspires people as well.
Maggie Chang is a poet, writer, and artist whose environmental journey started in first grade when she learned about deforestation of the Amazon in school. Since then, Maggie has led campus secondhand clothing sales for sustainable fashion, organized a UN Sustainable Development Goal training, and helped establish EcoSchools Canada’s Youth Advisory Council, leading her to be named one of the first WWF Canada Living Planet Leaders and a Top 25 Under 25 Environmentalist in Canada.
With a Bachelor of Environmental Studies, Maggie served on the Natural Resources Canada Youth Council and practiced international solidarity with fairtrade, organic coffee communities with Café Femenino, Peru. Currently she works on building an intersectional environmental movement through art and activism and as co-chair of the City of Toronto Climate Advisory Group.
I first met Maggie at the Trajectories for a Just Economy event organized by Foundation for Leadership, Imagination and Place (FLIP) where she was presenting her an exhibit of portraits of her peer BIPOC environmentalists, building on the work she did at the University of Waterloo on her undergraduate thesis, where her focus was on better racial inclusivity in the environmental field.
I was impressed by her vitality and by that series of striking photographs of fellow IBPOC environmentalists and so wanted to know more about her views on art and science and life as a Gen Z eco-art activist:
In terms of what this generation is feeling around environmental stuff, I heard from a sustainability intersectional environmentalism influencer who kind of coined the term, ‘green girl Leah’ on Instagram, she said that studies have have shown that like millennials feel sort of a climate pessimism, but Gen Z feels climate doomism so that's definitely a really big challenge.Our conversation took place in a media studio of the Toronto Public Library, which Maggie kindly set up for us. It was good to be in a shared publicly accessible media studio while we spoke about the role of art and its relationship with environmental studies and other cross-sections.
We also spoke about managing eco-grief:
In the last maybe year or two, I had some very interesting reflections and experiences where I realized that I had a lot of grief within myself around that rupture of connection to land due to migration. When we think about it, everybody has a rupture in connection to land. So for me, it was because of migration, but for indigenous folks, it was because of the genocidal things that the Canadian government did.I was uplifted and energized by our conversation.Maggie is very hard working and a gifted environmentalist and artist. The world needs more art and science bridge builders like Maggie. I liked the way she weaves networks and considers them as a form of biodiversity. This type of resilience and vision is critical to our collective future, which is in the hands of Maggie and her peers:
It's just like biodiversity. When you have a more biodiverse ecosystem, you have more redundancy that's built into it and so even when certain aspects of it are not as strong, you have these networks that can still fill into those spaces and it's just like with our community, when we strengthen our community and we create more connections between us, even when certain parts of the community maybe have a bad season or they have to slow down for a little bit, we can still create wonderful things because we have enough connections to fill in those gaps. Just like biodiversity, right?With thanks to the Toronto Public Library for use of the studio and to Maggie for her time.
Maggies recommends the following publications and accounts:
Green Dreamer (podcast) Green Girl Leah (Instagram)On Canada (Instagram)Art House TO (Instagram)Climate Justice TO (Instagram)*
END NOTES FOR ALL EPISODES
Hey conscient listeners,
Thanks for your presence. Season 5 of this podcast is now completed. I'll be back with season 6 on art and culture in times of crisis and collapse (see trailer for details) sometime in 2025.
Background on the conscient podcast
I’ve been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It’s my way to give back and be present.
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 about collapse acceptance, adaptation, response and art’. 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 most conscient podcast and balado conscient episodes from season 1 to 5 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 [email protected] 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 Schryer
Latest update on November 6, 2024
-
This is a bonus episode from my 'a calm presence' substack: lens shift featuring an excerpt from e164 jimmy ung - proximity proportionate responsibility.
The original text is below. The audio version was recorded on my iPhone in Vancouver on September 9, 2024 (4 minutes, 36 seconds). I also invite you to read the comments about this posting including one by Don Hill about the use of 'either/or dilemmas' in this kind of writing, which is a fair point (thanks Don). My response included that I sometimes 'do not leave enough room for the listener or reader to take their own space' (I'm working on that) but that in this case, I wanted to produce a 'polemic and provocation' given the severity of our situation. Thanks for reading and-or listening.
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lens shift
from endless growth to societal collapse
Ok, are you still with me after that subtitle? :-)
If so, when you get a chance, please try this exercise:
Think of something you are currently doing - anything - and then shift your perspective on that activity from an ‘endless growth’ lens to a ‘societal collapse’ lens.
Everything changes, right?
Well, maybe not right away…
Here’s an example: You’re driving a car and you’re ‘endless growth’ mode. You might feel encouraged, seemingly without consequence, to want a bigger or faster vehicle, whereas with a societal collapse lens, hum, you would make rethink owning a private vehicle altogether and focus your energies on other things such as on our dying planet.
Same car, two very different lenses.
Jimmy Ung’s in e164 jimmy ung - proximity proportionate responsibility of the conscient podcast said something that I think is worth remembering at this point:
· ‘If we were to do an inventory of where all the things we own were made, that would give us a very interesting map of where our responsibility, our attention and our donations ought to go because our pressures on the global systems can be revealed. That's a much more reasonable way to interact with different crises than to simply read about it on the news and interact with the whole of it without the context of our footprint.’
Right, context.
So, having done the exercise, what does one do? : car sharing, keep our old phones as long as possible, donate strategically to charity, learn to unlearn ? There are many things that we are doing and can continue to do more of…
But, the critical part is to apply this idea of ‘lens shift’ in every aspect of our lives and see where it takes us.
Personally, it has brought relief, relief in the spirit of the Deep Adaptation Forum’s ‘embodying and enabling loving responses to our predicament’.
Relief, but not in a doomist or defeatist kind of way, but relief in the sense of releasing pressure.
Releasing pressure that helps me deal with things as they really are and direct my energy based on what I feel about that reality not what I imagine through the fairy tale of modernity.
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END NOTES FOR ALL EPISODES
Hey conscient listeners,
Thanks for your presence. Season 5 of this podcast is now completed. I'll be back with season 6 on art and culture in times of crisis and collapse (see trailer for details) sometime in 2025.
Background on the conscient podcast
I’ve been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It’s my way to give back and be present.
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 about collapse acceptance, adaptation, response and art’. 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 most conscient podcast and balado conscient episodes from season 1 to 5 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 [email protected] 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 Schryer
Latest update on November 6, 2024
-
The role of the artist in the climate crisis is not simply to communicate scientific information in a sort of dressed up kind of way, but really to engage the imagination to do that thing that only art can do, which is getting at these almost imperceptible shifts in identity, in purpose and meaning, and the way that we as humans think about our relationship with the natural world and our place in it. It’s ineffable, that kind of shift. If that’s not the role of art, I don't know what is.
Judi Pearl has been a passionate environmentalist since her early teens here in Ottawa, unceded Algonquin-Anishinaabe lands.
In addition to her long-standing role with the English Theatre Department at the National Arts Centre, Judi formerly served on the boards of The Only Animal theatre company and the Professional Association of Canadian Theatres also known as PACT.
Judi is also a co-founder, along with myself, Anjali Appadurai, Robin Sokoloski, David Maggs, Kendra Fanconi and Anthony Garoufalis-Auger of SCALE (Sectoral Climate Arts Leadership for the Emergency), a non-profit network of artists, cultural practitioners, and arts organisations committed to addressing the climate emergency. This organization was founded in 2021, where Judi was also the Operations Lead until 2023. You can learn about SCALE by listening to its current leader of SCALE, Annette Hegel, in e176 art as a tactic.
At the NAC, Judi has produced large-scale projects such as Grand Acts of Theatre, Stages of Transformation, the NAC Hip Hop Theatre Festival, the annual ceremony for the Siminovitch Prize (2016-2020) as well as Family Day (2011-2015), among many others. She was also the recipient of the CEO’s Award of Excellence in 2020. Well deserved, I’m sure.
My first conversation with Judi (e59 pearl – positive tipping points) took place during a walk in the park here in Ottawa where we talked about theatre, the climate emergency, collaboration, arts leadership, the intersection of arts and sustainability and elusive positive tipping points. I invite you to listen back to that episode:
SCALE is really trying to become that gathering place that will engender that high level collaboration, which hopefully will create those positive tipping points.Fast forward 3 years later and Judi has a new title at NAC English Theatre ‘Associate Producer, Artistic Programming and Environmental Projects’, which points to her long standing leadership role on environmental issues at the NAC and in the arts sector in general.
Judi’s work these days has an increased focus on artistic programming such as the Irresistible Neighbourhoods, a multi-year play development project centered on themes of climate and sustainability, which nurtures both emerging and established playwrights to imagine alternative visions for the neighbourhoods they call home and I invite you to go all the way back to the second episode of this season, e155, where you can hear Sanita Fejzić talk about her Irresistible Neighbourhoods radio play Machines and Moss. When I first Sanita’s play I was blown away. I loved it.
Irresistible Neighbourhoods
It was good to reconnect with Judi, the theatre producer and climate activist. I’ve always appreciated Judi’s insights on art and climate emergency policy as well as her moral clarity, for example :
What we hear is extremism on both sides, even though those extremist views are often, I think, a minority, and yet those are the voices we hear the most that get the most attention and then because of the way social media works or the media in general works, that extremism tends to beget more extremism, hence polarization just gets worse and worse. I really hope that the arts and artists can be a force to counter that trend.Judi also observes that the arts are well placed to address these wounds :
I think it's vitally important that artists hone, cultivate and maintain an ability to dialogue and listen and reach people who think differently.And I think we should be grateful to Judi and her peers for working so hard to help set up SCALE and similar organizations that place the arts at the centre of the complex challenges that we face and thereby increasing their relevance.
Judi’s recommended readings are :
Not the End of the World : How We Can Be the First Generation to Build a Sustainable Planet by Hannah RitchieFix the News by Angus HerveyNote: This document was referred to during this conversation : Walking Gently on the Land (National Arts Centre Environmental Sustainability Action Plan 2023-2026)
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Sections of the episode (generated by AI and reviewed by Claude Schryer)
Reconnecting with Judi Pearl
Judi Pearl returns to the conscient podcast, reminiscing about past conversations and her journey in the arts. The discussion sets the stage for exploring her current role at the National Arts Centre and her commitment to environmental issues.Judi’s Journey in the Arts
Judi shares her background as a theatre artist, highlighting her evolution from stage manager to associate producer at the National Arts Centre. She emphasizes her deep connection to Ottawa and her work in a large institution.The NAC’s Environmental Commitment
The conversation shifts to the National Arts Centre’s environmental policies, including their new strategic plan and sustainability action plan. Judi discusses the importance of setting targets for waste, energy, and artistic programming.Creative Green Tools and Climate Awareness
Judi and Claude elaborate on the Creative Green Tools in Canada and their relevance to measuring the environmental impact of the arts. Judi highlights the importance of raising awareness and establishing baselines for carbon footprints within institutions.Irresistible Neighbourhoods: A New Artistic Initiative
The focus shifts to Judi’s artistic work at the NAC, particularly the ‘Irresistible Neighbourhoods’ project. She explains how this initiative aims to explore neighbourhoods through a climate lens, involving emerging playwrights in the creative process.The Role of Climate Dramaturgy
Judi discusses the innovative concept of climate dramaturgy, introduced by Vicki Stroich, and its significance in shaping narratives around environmental issues. This approach encourages playwrights to imagine futures for their neighbourhoods beyond dystopian themes.Integrating Music and Theatre
As the conversation continues, Judi shares insights on the integration of music and theatre in the second volume of ‘Irresistible Neighbourhoods.’ She highlights the collaborative process between composers and playwrights to create a unified artistic vision.Art’s Potential for Cultural Shift
Judi reflects on the power of art to influence societal attitudes and values, drawing parallels with historical movements. She argues that cultural shifts are essential for driving political and economic change, particularly in the context of climate action.Facing the Future: The Role of Arts
As we confront the uncertainties of the future, the conversation shifts to how the arts can play a pivotal role in addressing societal challenges. The discussion highlights the potential for the arts to foster resilience and adaptation in communities facing resource scarcity and climate change.Bridging Divides: The Power of Dialogue
The dialogue emphasizes the importance of engaging with differing perspectives in an increasingly polarized world. Artists are encouraged to cultivate the ability to listen and connect with those who hold contrasting views, fostering a more inclusive discourse.Navigating Modernity: A Call for Openness
The conversation delves into the complexities of modernity and the need for new visions as societal structures evolve. The speakers advocate for open dialogue and collaboration to address pressing issues, highlighting the potential of community-engaged arts.Finding Hope Amidst Challenges
As the discussion turns to the media’s portrayal of current events, the speakers reflect on the necessity of sharing positive stories that inspire action and change. They recommend resources that highlight impactful initiatives and encourage a more balanced view of the world’s progress.Joy in the Everyday: Celebrating Small Wins
Judi shares personal moments of joy and gratitude, emphasizing the importance of recognizing positive aspects in life amidst challenges. They reflect on the significance of community and the arts in fostering connection and hope.
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END NOTES FOR ALL EPISODES
Hey conscient listeners,
Thanks for your presence. Season 5 of this podcast is now completed. I'll be back with season 6 on art and culture in times of crisis and collapse (see trailer for details) sometime in 2025.
Background on the conscient podcast
I’ve been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It’s my way to give back and be present.
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 about collapse acceptance, adaptation, response and art’. 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 most conscient podcast and balado conscient episodes from season 1 to 5 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 [email protected] 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 Schryer
Latest update on November 6, 2024
-
If we're going to see change happen, it's going to be because people change and that doesn't occur when you preach to them or you evangelize or anything else. It comes because people, in whatever way is appropriate for them, as individuals, begin to reevaluate the way they live, the way their friends live, and make different choices and say to the government, more has to be done. Because what we're losing and what the next generation, our children and grandchildren will lose is immeasurable and we have to act now. Later is too late. So Climate Legacy essentially is trying to identify what are the ways in which you have that conversation with people.
In this episode, former CEO, climate activist and social innovator Tim Brodhead takes us on a reflective journey through his extensive experience in philanthropy and international development.
He shares his evolving perspectives, from initially believing in the capacity of developed countries to aid ‘undeveloped’ nations, to recognizing the often exploitative dynamics at play between wealthy and poorer countries.
This shift has led him to focus on the importance of educating Canadians about the unsustainability of their lifestyles and the need for mutual enlightenment over traditional aid approaches.
When I arrived at Tim home in Metcalfe Ontario, south of Ottawa, I was greeted by a warm, gentle smile and the sweet sound of an antique grandmother clock, whose ticking and bells became a leitmotif throughout our conversation
(Sound of clock)
Tim Brodhead is as accomplished as he is humble. He was president and chief executive officer of the J.W. McConnell Family Foundation from 1995 to 2011. From 2013 to 2014, he served as interim president and chief executive officer of the Pierre Elliott Trudeau Foundation.Prior to joining McConnell, Tim spent 25 years working in international development, mainly in West Africa, South Sudan, India, and Bangladesh. He was the founding executive director of ACORD, based in London, U.K., and in 1975, he co-founded the Canadian development agency Inter Pares which is based here in Ottawa just down the street from my home.
Before our conversation Tim sent me an email with some initial responses to my question about the ‘end of the world as we know it and how to create conditions for new worlds to emerge?’.
He started with a historical perspective :
Over stretch of a millennium a relatively small community in N-E Europe embarked on some pretty big social experiments: enclosing common lands and the emergence of private ownership as the prime creator of wealth; a splitting of spiritual and material worlds (“Cogito ergo sum”), the conception of private property backed up by State power as the source of personal security, the patriarchal and hierarchical nature of authority, the faith in science and technology as the main drivers of ‘progress’, etc. The experiment unfolded brilliantly for several centuries and material well-being grew by leaps and bounds - along with wars of dispossession, despoiling of the natural environment, yawning inequality in all the markers of human well-being, etc.He goes on to note some of the failings of modernity :
But then it emerges that the experiments are failing - the costs outweigh the benefits, the fruits are too unequally divided, the ecosystem is pushed beyond its capacity to assure the essentials of life. The civilization that embodies these experiments begins to undergo a catastrophic failure. This has happened before; civilizations rise and fall. The problem this time is that the process of colonization has produced a global mono-culture. The values, beliefs and institutions that emerged in NE Europe have spread all over the globe; they are called ‘modernity’ and ‘progress’ and those who don’t yet have them aspire to acquire them as fast as possible. The alternative beliefs and understandings - the famous ‘other ways of seeing, knowing and being’ have been stamped out or suppressed. Yes, islands of resistance remain, mostly in Indigenous communities, but they have the status of folklore.Tim concludes his pre-interview email with this insight about one of the sources of our problems :
The world-as-we-know-it may be ending but it has some pretty fierce defenders - all those whose wealth and privilege are at risk, plus those who cannot conceive of alternatives, and those who firmly believe that technology still has the power to solve our problems. The media, knowledge and education systems, cultural industries, commercial and advertising are all controlled by those with wealth and power and they all reinforce the fundamental message: This is the way the world works; if you can’t see that, YOU are the problem!I agree. So what do you suggest we do, Tim?
We need to rethink and reform and invest in new approaches and we're by and large unwilling to do it. So the need for social innovation is as strong now as it has ever been, but the facile use of language, like everyone is a changemaker, just ignores the fact that this is really hard work.Ok Tim. Let’s get to work. it’s really a question of time at this point, isn’it?
(Clock continues until one bell is rung)
But wait, what about art? Is it our saving grace or a voice of consolation?
A warning, listeners, near the end of the recording you’ll hear a long silence as we listen together for the 11am ring of the grandmother clock. Enjoy.
It’s July 16th 2024, 10.17 am and we’re in Tim Brodhead’s dining room. Tic toc tic toc…
Tim recommended, in terms of reading Mary Oliver’s suggestion in Instructions for Living a Life : pay attention, be astonished, tell about it.
*
Chapters of the podcast (generated by AI, reviewed by Claude Schryer)
Welcome
The conversation begins with a warm welcome as the host introduces Tim Brodhead, setting the stage for a discussion on art and societal themes. The intriguing ticking clock adds an element of anticipation to the dialogue.Reflections on Development
Tim shares his background in philanthropy and international development, reflecting on the naive perceptions of helping ‘developing’ countries. He discusses the shift from a mindset of helping others to recognizing the need for enlightenment within our own cultures.The Price of Progress
The conversation delves into the consequences of Western lifestyles on identity and community, highlighting the trade-offs of modernity. Tim emphasizes the loss of solidarity and the cultural erasure experienced by many societies.Indigenous Wisdom and Reconciliation
Tim discusses the importance of learning from Indigenous cultures and the values they offer in terms of sustainability and respect for the environment. He raises concerns about the appropriation of these values and the challenges of true reconciliation.A Critical Perspective on Modernity
The conversation shifts to a critique of modernity, revealing how historical narratives have often overlooked the successes of non-Western societies. Tim argues that the dominant worldview has led to a monoculture, erasing valuable alternatives.The Epidemic of Loneliness
Tim addresses the modern issues of loneliness and spiritual vacuums, suggesting that these problems are a result of the societal choices made over decades. The discussion highlights the need for a deeper understanding of our interconnectedness.Art’s Role in Society
The host shifts focus to Tim’s relationship with art, exploring how it influences his life and work. Tim expresses his affinity for visual arts and literature, while acknowledging the complexities of art’s role within Western culture.The Climate Legacy Project
Tim introduces the Climate Legacy Project, aimed at mobilizing older generations to take responsibility for environmental issues. He emphasizes the importance of behavioral change and systemic shifts to address climate challenges.Conversations for Change
The discussion centers on the importance of personal conversations about climate change, especially among older generations. Tim highlights the need for intergenerational dialogue to inspire action and change.Indigenous Worldviews and Modernity
Tim contrasts Indigenous perspectives on decision-making with the fast-paced nature of modern culture. He argues for a balance between progress and a deeper understanding of the long-term impacts of our choices.Empowering Older Generations
The conversation explores the unique role of older women in environmental activism and the importance of their voices in the climate movement. Tim discusses how older generations can leverage their assets and experiences to foster change.The Power of Financial Choices
Tim emphasizes the responsibility of older generations to question how their financial assets are being used. He advocates for a shift in investment practices to support sustainable and socially responsible initiatives.The Power of Art in Social Change
In this section, the discussion revolves around the limitations of rational arguments in driving behavioral change regarding biodiversity and the need for art and creativity to engage people on a deeper level, beyond mere reason.Navigating Social Innovation
The conversation delves into the concept of social innovation, its origins, and the paradox of trying new approaches within a system that often resists change. Tim critiques the overuse of buzzwords like ‘changemaker’ and highlights the challenges of implementing systemic change.Rethinking Social Systems
This section explores the persistent issues within social systems, such as the penal and healthcare systems, that fail to produce desired outcomes. Tim calls for a reevaluation of approaches and an openness to innovative solutions.The Complexity of Modern Living
The discussion shifts to the complexities of modern life and the need for simplification, as highlighted by various voices advocating for a slower, more mindful existence. The speaker reflects on the balance between appreciating modern advancements and recognizing their costs.Time and Reflection
As the clock chimes, the conversation takes a metaphorical turn, comparing the clock’s winding mechanism to the cycles of life and the inevitability of death. This introspective moment leads to a discussion about the significance of time and how it shapes our experiences.The Art of Reading and Listening
The chapter focuses on the speaker’s passion for reading and the impact of literature on their worldview. They discuss the challenges of managing an overwhelming amount of information and the importance of finding meaningful stories that resonate.Curating Knowledge in a Digital Age
In the final section, the conversation reflects on the balance between consuming media and engaging with the world around us. The speaker highlights the value of sharing knowledge and stories, emphasizing the importance of meaningful connections in both reading and listening.
*
END NOTES FOR ALL EPISODES
Hey conscient listeners,
Thanks for your presence. Season 5 of this podcast is now completed. I'll be back with season 6 on art and culture in times of crisis and collapse (see trailer for details) sometime in 2025.
Background on the conscient podcast
I’ve been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It’s my way to give back and be present.
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 about collapse acceptance, adaptation, response and art’. 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 most conscient podcast and balado conscient episodes from season 1 to 5 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 [email protected] 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 Schryer
Latest update on November 6, 2024
-
That's the thing about the future's work and foresight work is you need a very broad range of thinkers. You need people from different perspectives who speak different languages and who recognize different worldviews. I think that's always why artists will be important in that process, because they are not necessarily coming from sort of mainstream culture. They may be immersed, raised in mainstream culture, but they're often trying to say, hey, there are other ways of seeing the world, and there are other ways of responding to the world that we're in right now.
I first met Zan Chandler in 1999 when we were both starting work at the Canada Council for the Arts running arts programs. I’ve kept in touch with Zan over the years and have followed her career as an arts educator and expert in foresight.
I’ve always been fascinated with various forms of futuring so I was happy when Zan clarified, for example, the difference between forecasting and foresight. We also talked about foresight into the future of the arts and how the arts can help us anticipate better futures.
Zan’s journey in the arts and foresight fields began with her background in linguistics, shifting to arts through photography and film, leading to work at the Department of Canadian Heritage on arts and film policy and now at Policy Horizons Canada.
During our conversation Zan notes that artists are good at sensing societal shifts and addressing various forms of injustices. Our conversation explored the potential of art and artists in foresight work, such as storytelling and emotional connections.
Zan suggests that the inclusion of artists in foresight work can help challenge our assumptions and introduce new and valuable perspectives.
We also talked about the impact of COVID:
While I might have been a little doom and gloom about what happened during COVID and how devastating some of the impacts were on the arts community, I think one thing that came through strongly for me was how the innate need to create together, regardless of what the context was, remained. And we have so many examples of the creative sector coming together to raise spirits and to create in ways, in new ways.My takeaway, if not my prognosis, is that we need to be prepared for multiple outcomes while remaining open and actively working on new possibilities. Zan reminds us that:
That's the idea around foresight. If you imagine that it's possible, you've at least started to think about : what do I have to do if this happens and how do I recognize that it might be beginning to happen.If you are interested in exploring ways of being and perceiving that likely different to what you were exposed to in school and at work, Zan recommends the following books as a good start:
Braiding Sweetgrass: Indigenous Wisdom, Scientific Knowledge and the Teachings of Plants by Robin Wall KimmererSand Talk: How Indigenous Thinking Can Save the World by Tyson YunkaportaThe work of Gabor Mate and Bessel van der Kolk*
Sections (generated by AI and reviewed by Claude Schryer)
Introduction to the Podcast
The podcast kicks off with a warm welcome to Zan, highlighting her long-standing connection and the intent to explore the intersection of arts and foresight.Zan’s Journey into Arts and Foresight
Zan shares their unique background, detailing their unexpected journey from linguistics to the arts and eventually into the foresight field, shaped by their experiences in Canada and abroad.Understanding Foresight vs. Forecasting
The conversation delves into the distinctions between forecasting and foresight, emphasizing the importance of recognizing multiple possible futures rather than predicting a singular outcome.The Arts as a Form of Foresight
Zan discusses the role of the arts in anticipating future social and technological changes, citing Marshall McLuhan’s insights on how art acts as an early warning system for societal shifts.Balancing Hope and Reality
The discussion shifts to the challenges posed by climate change and societal trends, exploring how to maintain a positive outlook amidst overwhelming negative information.The Role of Technology and Spirituality
Zan reflects on the intersection of technology and spirituality in addressing future challenges, considering how a broader interpretation of technology can influence our survival.Ancestral Knowledge and Connection to the Planet
The conversation highlights the importance of ancestral knowledge and the need to reconnect with our roots and the planet, emphasizing how this connection can inform foresight practices.The Interconnectedness of History and Future
Zan and Claude discuss how understanding history is crucial for anticipating future changes, noting that many current issues are rooted in long-standing historical processes.Empowering Artists Through Foresight
In this chapter, the discussion revolves around how everyday artists can leverage foresight methodologies to enhance their creative practices and navigate post-COVID challenges. The importance of understanding cultural and historical contexts in foresight is emphasized as a means for artists to feel more engaged in their work.Artists as Natural Foresight Practitioners
The conversation highlights how artists inherently possess skills relevant to foresight, such as making connections and responding to societal changes. The speakers advocate for artists to recognize their unique contributions and consider integrating foresight methodologies into their practices.The Role of Assumptions in Foresight
This chapter delves into the significance of questioning assumptions within foresight work, particularly in policy contexts related to the arts. The speakers discuss how assumptions about touring and audience engagement were challenged during the pandemic, prompting a reevaluation of the art sector’s future.Adapting to Change: Lessons from COVID-19
Reflecting on the impact of COVID-19, the speakers discuss how the pandemic revealed vulnerabilities in the arts sector’s assumptions about gathering and touring. They explore the resilience of artists and the potential for innovative adaptations in response to ongoing global challenges.The Arts in Times of Crisis
The discussion shifts towards the vital role of the arts during crises, emphasizing how storytelling and creativity can foster community resilience. The speakers look forward to exploring historical and future perspectives on the arts’ contributions in challenging times.Creativity Amidst Constraints
This chapter celebrates the arts’ ability to thrive under constraints, showcasing examples of global collaborations that emerged during the pandemic. The speakers highlight the enduring importance of artistic expression as a means of connection and commentary on societal issues.Foresight Beyond Human Perspectives
The conversation emphasizes the need for foresight practices to consider more than just human interests, advocating for a broader perspective that includes the planet and other species. The speakers reflect on the historical roots of foresight and the potential for cultural foresighting to shape a more inclusive future.Recommended Reads
In the final chapter, Zan shares her recent reading recommendations.
*
END NOTES FOR ALL EPISODES
Hey conscient listeners,
Thanks for your presence. Season 5 of this podcast is now completed. I'll be back with season 6 on art and culture in times of crisis and collapse (see trailer for details) sometime in 2025.
Background on the conscient podcast
I’ve been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It’s my way to give back and be present.
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 about collapse acceptance, adaptation, response and art’. 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 most conscient podcast and balado conscient episodes from season 1 to 5 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 [email protected] 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 Schryer
Latest update on November 6, 2024
-
I think a lot of people right now are feeling terror or feeling deep grief - worry about climate - and might mention it in a joking way over dinner, like ‘oh, well, we'll see if we're all around in 20 years’ and there's so much truth to that, to the pain people are feeling in the worry. And so in the end, I think and hope that it's helpful to share my personal emotional experience of this, even though it's very vulnerable to do so.
As promised during our first conversation on June 10th, 2024, in e187 alice irene whittaker - caring for the planet I love, I’ve now read Homing: A Quest to Care for Myself and the Earth book that came out on Tuesday, September 3, 2024.
Here is my review of the book. Please keep in mind that this is my first try at being a literary critic. Luckily, it was easy, because I loved the book and highly recommend it to everyone.
I loved the flow of the book, like gently canoeing down a river with occasional sudden rapids but with some portaging. And I notice that you often refer to rivers in the book. We’ll come back to that.
At times the mix of practical and poetic did not work for me but then I’m not your average reader either, because my life story is actually much like yours, except that that I was a perfectionist and overachieving musician instead of a dancer - and I didn’t break my arm, not yet anyway. I think we were brought up equally enamoured with nature and worried sick about the implication of modernity and our complicity in it, though we would not have used that language back then…
So on the practical side I enjoyed learning more, for example, about eco-responsible local living : the buy nothing movement, the unbuilding movement, the permaculture movement and so on. I also loved hearing about that magical 37th degree isotherm and other stories of life on earth that warms the spirit.
Here are some my highlights:
You talk about ‘Fashion as an ecosystem of justice, climate, soil, labour, gender, creativity, expression and culture, made up of people each with their own offerings and niche, intricate in its diversity and interconnections.’ in the context of sustainable fashion You remind us that ‘it’s time for a whole-of-self-transformation, one that is messy and imperfect and wholehearted’, which does not sound perfectionist but rather grounded in realityI love your thinking around economic issues, for example, you wrote that ‘For the circular economy, or any alternative model to be meaningful, it has to recognize Indigenous worldviews and pay reparations to the people who have been exploited, traumatized, and marginalized in the centuries-long project of the linear, patriarchal, colonial and capitalist economy.’And this last one, more on the poetic side, made me nostalgic for winter:
Snow is water holding its breath, a calm pause after a deep inhale, waiting for that great exhale of spring when, instead of air, water rushes forth with relief.Beautiful, engaging writing.
And of course your Homing book made me think about my own domestic life and my own idea of home.
An excerpt from episode 185 of this podcast with indigenous artist Sandra Laronde came to mind:
I really believe that we carry the spirit of the land wherever we go. In the Western canon, they say that once you leave home, you can never return, but in the Indigenous canon, home never leaves you.I can see affinities between Sandra’s statement about home never leaves you and the purpose of your book which is about :
… care, motherhood, healing, faltering, and searching for ways to live during breakdown and about finding home, when our planetary home is eroding, and questioning how - and whether - to have hope.What then is hope? What is home? What is life? What is love? You ask a lot of questions.
One of things that caught my attention in Homing was the idea of ‘breakdown’ (some might call it ecological and societal collapse) but systemic breaking down in one way or another, which is a necessary step in nature’s regeneration process but is also necessary for us to live through as we exit the modern world and btw the word through is very important in your book. We’ll come back to that.
So, I would say that Homing is a hoot - a funny and moving book - but it’s also a sobering book that is connected to reality.
What your book shows us, Alice Irene, is how to batten down the hatches and to get ready for a storm that is already here, as you’ve experienced this week with the floodings in Chelsea, Québec and the disappearance of your gardens and some of your beloved natural spaces but it’s also about unblocking creative energies and working through that dynamic. Working through…
I like the way you put it on page 171:
Believing in myself as beneficial rather than harmful provided a deep and unfamiliar freedom.Overall, I would say that Homing is a valuable addition to ecological and climate crisis literature. It’s so deeply personal that we can literally feel your pains and joys but it’s also a universal story that can appeal to anyone, anywhere.
And I think that it’s a literary tour de force and I want to thank you, and your family, for sharing your story and I hope you write a sequel, when you’re ready. I’m really curious to know what happens next.
*
Chapters (generated by AI and corrected by Claude Schryer)
Reconnecting and Reflecting
Alice Irene and Claude reconnect after their previous conversation, setting the stage for a deep dive into Alice Irene’s new book. They discuss the significance of the book’s launch and the events surrounding it.A Journey Through the Book
Claude shares her heartfelt review of Alice Irene’s book, describing its flow and it’s mix of practical and poetic elements and how Alice Irene reflects on the themes of nature, personal experiences, and the book’s impact on her own understanding of home.Exploring the Concept of Home
The conversation shifts to the idea of home, Alice Irene discussed the emotional and philosophical implications of what home means in a changing world.The Necessity of Breakdown
Alice Irene introduces the concept of breakdown as a necessary step in nature’s regeneration process. This theme resonates throughout the book, prompting a discussion on how it relates to personal and societal challenges.Personal Stories and Vulnerability
Alice Irene reflects on the personal nature of her writing, discussing how her experiences shaped the book with an emphasis on the importance of sharing vulnerabilities and the healing power of storytelling.Navigating Perfectionism
The conversation delves into the struggles of perfectionism and its impact on environmentalism. Alice Irene shares her candid experiences, highlighting the complexities of living sustainably in an imperfect world.Guilt and Accountability
Alice Irene discusses the feelings of guilt and shame that often accompany environmental choices. She advocates for a more compassionate view of our actions and the importance of community support.The Journey Through Motherhood
Alice Irene draws parallels between childbirth and the journey of environmental stewardship, emphasizing the concept of ‘through’ as a theme in her life and writing. The discussion highlights the unique perspective of mothers in the environmental movement.Finding Home in Erosion
The conversation returns to the theme of home, particularly in the context of environmental degradation. Alice Irene shares her recent experiences with flooding, prompting a deeper exploration of what home means when it is literally eroding.Grief and Regeneration
Alice reflects on the emotional toll of losing parts of her home due to climate change. She discusses the grieving process and the potential for regeneration, both personally and ecologically.Embracing Eco Grief
In this chapter, the conversation delves into the concept of eco grief and its importance in shaping how we live moving forwardf with an emphasis on the need for emotional intelligence and community support during times of loss.Community Connections
The discussion highlights the power of community during crises, illustrating how neighbors come together to support one another in challenging times. Personal anecdotes reveal the deep bonds formed through shared experiences of vulnerability and mutual aid.Art as a Healing Tool
Exploring the role of art during difficult periods, Claude and Alice Irene reflect on how creative expression can help individuals process grief and loss. They contemplate the importance of rituals to honor what has been lost and foster community healing.The Dance of Life
The conversation shifts to the intersection of art and personal experience, They touch on the complexities of life, where joy and sorrow coexist, and how this duality can inform the creative practices.Celebrating Literary Achievements
As the conversation wraps up, Claude and Alice Irene discuss the significance of book launches and the collaborative nature of writing.The Power of Podcasting
Claude and Alice Irene exchange about the world of podcasting, discussing how it serves as a platform for sharing meaningful conversations and insights. They highlight the interconnectedness of their respective podcasts.*
END NOTES FOR ALL EPISODES
Hey conscient listeners,
Thanks for your presence. Season 5 of this podcast is now completed. I'll be back with season 6 on art and culture in times of crisis and collapse (see trailer for details) sometime in 2025.
Background on the conscient podcast
I’ve been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It’s my way to give back and be present.
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 about collapse acceptance, adaptation, response and art’. 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 most conscient podcast and balado conscient episodes from season 1 to 5 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 [email protected] 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 Schryer
Latest update on November 6, 2024
-
It’s really important to have some sort of horizon to grasp onto and work towards and for me that is thinking about what possible worlds might exist and how can I spend my time contributing to making those worlds possible. Of course that is a huge question and it changes a lot day to day. I have been thinking a lot lately about how art and scholarship around the environment can teach and inform one another in terms of practice and action.
I know Emma Bugg from two art and environment research activities in Canada : Sustainability and the Arts (SATA), a SSHRC funded project led by Dr. Tarah Wright, professor at the Department of Earth & Environmental Sciences, at Dalhousie University that identifies Canadian and global scholars, artists and practitioners working in sustainability, including myself as one of their advisors.
The other project is the Living Climate-Impact Framework for the Arts project, a qualitative arts framework, designed as part of the Research in Residence: Arts Civic Impact Initiative by Mass Culture, led by Robin Sokoloski, produced in collaboration with CreativePEI, that provides indicators to measure arts impact in environmental sustainability and fosters transformation towards climate action and adaptation by using forward-thinking to create a useful arts impact assessment framework.
Some interesting research here on how the arts can make a difference and the role of the arts in the ecological crisis.
In other words, Emma Bugg, who is currently an interdisciplinary PhD student at the Faculty of Graduate Studies at Dalhousie University in Halifax, Nova Scotia is an arts is a climate research nerd or rather an arts and climate hero. Hard working and with an endless curiosity. Before her studies at Dalhousie, worked at the Ottawa based non-profit Evidence for Democracy as the Communications and Campaigns Manager.
Our conversation explored the dilemma of the environmental crisis as a cultural crisis, and how if we want a sustainable future - and we do want and need that - or any kind of future for that matter, we need to culturally transform our entire society.
Scholars like Emma are doing their part and increasingly contributing to the emerging field of sustainability and the arts; however, this growing body of scholarship and knowledge, has not yet effectively tackled the specific role of arts organizations and their potentialities for impact and this is one of Emma’s passions.
I got caught up myself in Emma’s enthusiasm for data, research and impact measurement during our conversation, when committed, quite impulsively, to apply the Living Climate-Impact Framework for the Arts on this podcast as a test case which I will share when I’m done on my ‘a calm presence’ Substack. Kudos to Emma and Robin and their colleagues for this tool. I invite others to try the framework. It’s a lot of fun to go through the Who, How, What format.
Emma recommends the following reading materials:
Emergent Strategy, Shaping Change, Changing Worlds by adrienne maree brownLillian’s Place by Alexis Bulman (cedar shed in Stratford PEI)Note: also of interest to this episode is this paper by Emma Bugg, Tarah Wright and Melanie Zurba:
Creativity in climate adaptation: Conceptualizing the role of arts organizations and https://cgscholar.com/bookstore/works/understanding-impact-in-sustainability-and-the-arts
*
END NOTES FOR ALL EPISODES
Hey conscient listeners,
Thanks for your presence. Season 5 of this podcast is now completed. I'll be back with season 6 on art and culture in times of crisis and collapse (see trailer for details) sometime in 2025.
Background on the conscient podcast
I’ve been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It’s my way to give back and be present.
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 about collapse acceptance, adaptation, response and art’. 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 most conscient podcast and balado conscient episodes from season 1 to 5 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 [email protected] 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 Schryer
Latest update on November 6, 2024
-
The majority of individuals who work in this sector are deeply concerned about climate change and deeply motivated and often doing a lot about it in their personal lives but as a sector, we don't really have a vision of what our relationship is to it. So the kinds of responses range from a kind of silence on it and trying not to look at it directly in the eye to a superficial level of conversation, saying things like touring requires flying : flying bad, therefore, we should stop touring. (Owais Lightwala)When we're living in moments of deep confusion and cultural fragmentation, to be able to offer something that has a simplicity to it or something that allows an audience to just breathe together, I think is the greatest gift that artists can offer audiences. And then when the world becomes less fractured, less fragmented, then the work needs to become more complex because the audience will start demanding, like, help me understand what we need to do differently or how we can live more cohesively or whatever but in this moment, in this country, and certainly I'd say in this city, Calgary, where I'm sitting right now, to be able to offer experiences where people can breathe and feel held and feel respected, even admired for their human experiences, seems to me the primary role of the performing arts (SGS)
When I first read the header for the Manifesto for Now project I was immediately drawn in because it said:
We are concerned. We should be. It’s a crisis. Here are some ideas for how we got here. And where we go next.I'm concerned too. The Manifesto also questions:
In this moment of multiple seismic shifts: ecological, technological and social, maybe the performing arts can serve as facilitators for the transformation of humanity. How?One could argue that all the arts need to undertake this seismic shift and transformation and how is a good question.
So I contacted the manifesto’s co-authors Owais Lightwala and Sarah Garton Stanley (also known as SGS) and we chatted on July 11th, 2024 about the origins of this rather radical project and its impact so far.
Owais is Assistant Professor in the Creative School at Toronto Metropolitan University, he’s a producer and entrepreneur in the arts and culture worlds who likes to think about big ideas, solve interesting problems, and build better ways of doing things. Among other things he is the founding Director of Chrysalis at the Creative School, a new multidisciplinary performance hub at TMU.
SGS self-defines as someone who is into Culture, what it means, how we do it and why we need it. SGS is currently VP of Programming at Arts Commons in Calgary, Alberta, a member of the National Advisory Committee National Creation Fund (NAC), a Board Member Theatre Alberta, a co-steward at Birchdale and among many things in the past SGS was Creator and lead The Cycle(s) in collaboration with Chantal BIlodeau, about theatre and climate change at the NAC in 2019, which I had the pleasure of working on while I was at Canada Council.
You’ll hear in our conversation about why the original manifesto was created in April 2023 on the Canvas platform and that they have published 6 of 10 essays so far.
The essays are provocative and at times funny. For example, in the first essay, Art is for audiences first, artists second they observe that :
People are worried about the climate, groceries, housing, loved ones getting sick, their future… they are NOT asking for more art… They ARE asking for relief. For fresh air. For peace and quiet. For connection. For love. For direction. We need less of what we ARE offering and more of what we are NOT. What if the arts gave people what they need right now? What would change?I love this quote and the opening quotes of this episode that reflect this kind of courageous questioning of the role of art and what kind of art do people need at this time.
Their second essay ‘We are not as important as we think we are (or The Shoe Shiners Dilemma), is equally as sharp:
We need to make a much better case for what we do. Because we ARE more important than people think we are. Counter-intuitively, we think producing less will create more opportunities for a wider diversity of people to engage with what artists do. Less becomes more. We are all creative, yes, but we need to work together to make a case for our collective brilliance by betting big on individual brilliance.Oh no. Not that trope again about the singularity of the ‘brilliant suffering artist’ again, blah blah blah! I disagree or at least I don’t understand. So you’ll hear that we did not agree on all points but that’s part of the fun of a manifesto isn’t it, to make us think more deeply, break through some barriers, question some of our rhetoric and assumptions and to take a stand. Who are we as a community and where are we going and, well … who cares?
So I was pleased to see that the last of the 10 essays, not yet written, is called ‘Start here. Your turn’, which I think is an invitation for the arts and cultural community to engage with Manifesto for Now and to respond, as openly and as fearlessly as our two colleagues have done so far.
Owais recommends:
Children of Ruin, a 2019 science fiction novel by British author Adrian Tchaikovsky.SGS recommends :
Plurality, the future of collaborative technology and democracyPunditries such as Ezra Klein*
Chapters (generated by AI, corrected by Claude Schryer)Introduction to the Manifesto
The host introduces the episode, hinting at the manifesto’s significance and the exciting discussion ahead.Meet the Guests
Owais and SGS introduce themselves, sharing their backgrounds in the arts and their current roles. Their diverse experiences set the stage for a rich conversation about the manifesto and its implications.The Manifesto’s Origins
The guests delve into the origins of the manifesto, discussing the questions that sparked their collaboration. They reflect on their shared inquiry into the purpose and impact of the arts in society.The Role of Arts in Society
The conversation shifts to the role of the arts in addressing societal issues, particularly in the context of climate change and cultural fragmentation. The guests emphasize the need for artists to engage with audiences meaningfully.Challenging Assumptions
The discussion takes a critical turn as the guests question the effectiveness of the arts in fostering societal dialogue. They explore the complexities of audience engagement and the challenges of measuring impact.Future Directions of the Manifesto
The guests outline their hopes for the manifesto’s impact on the arts community, emphasizing the importance of ongoing dialogue and response. They invite listeners to engage with their questions and contribute to the evolving conversation.Art and the Paradigm Shift
The guests discuss their personal struggles with imposter syndrome and the need for a paradigm shift in thinking, moving beyond superficial actions to deeper systemic changes. They emphasize the importance of giving people permission to engage with profound ideas rather than just tactical solutions.The Arts Community and Climate Change
The conversation shifts to the arts community’s relationship with climate change, highlighting a disconnect between individual concern and collective action. The guests reflect on the need for a more profound sectoral vision regarding climate issues, rather than superficial responses.Navigating the Climate Crisis in the Arts
The discussion delves into the impact of COVID-19 on the arts sector’s engagement with climate change, revealing how the shift to online platforms has not necessarily reduced carbon emissions. The guests explore the challenges artists face in accessing research and how this affects their storytelling.Rebuilding Trust in a Fractured Society
The guests address the declining trust in society and the potential role of the arts in rebuilding connections among individuals. They discuss the importance of collective human activities in fostering trust, especially in the aftermath of COVID-19.Cross-Sectoral Dialogue and Collaboration
As the conversation wraps up, the guests highlight the significance of cross-sectoral dialogue in tackling climate issues and rebuilding trust. They express a desire for ongoing discussions and collaborations that can lead to meaningful impacts.Recommendations for Engaging Reads and Listening
The episode concludes with the guests sharing their current reading and listening recommendations, reflecting on how these works influence their thoughts and creative processes. They emphasize the importance of diverse perspectives in shaping their understanding of intelligence and society.Invitation for Dialogue and Critique
In the final moments, the guests invite listeners to engage with their ideas, encouraging feedback and critique to sharpen their thinking. They express gratitude for the opportunity to discuss their work and the importance of community engagement in their creative endeavors.*
END NOTES FOR ALL EPISODES
Hey conscient listeners,
Thanks for your presence. Season 5 of this podcast is now completed. I'll be back with season 6 on art and culture in times of crisis and collapse (see trailer for details) sometime in 2025.
Background on the conscient podcast
I’ve been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It’s my way to give back and be present.
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 about collapse acceptance, adaptation, response and art’. 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 most conscient podcast and balado conscient episodes from season 1 to 5 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 [email protected] 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 Schryer
Latest update on November 6, 2024
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