Conscient Podcast

Category Added in a WPeMatico Campaign

Conscient Podcast: e89 excerpts from ben okri’s ‘artists must confront the climate crisis’

episode 89 features quotes from Artists must confront the climate crisis – we must write as if these are the last days by Nigerian novelist and poet Ben Okri from the November 12, 2021 edition of The Guardian newspaper. Okri writes about existential creativity and call for a new philosophy for these times, with an excerpt from episode 87 kendra fanconi. Cover art is a collection of flowers and fruits by Jeannine Schryer of Ottawa. 

conscient podcast episode 89, Sunday, December 5, 2021, 7.32 pm

I’m back in Ottawa and I’m going to record this monologue in one take, as I have been doing since the beginning of season 3 of this podcast. So here we go. 

Today’s episode features quotes from Artists must confront the climate crisis – we must write as if these are the last days by Nigerian novelist and poet Ben Okri from the November 12, 2021 edition of The Guardian newspaper.

Here is the first quote from Ben Okri’s article: 

Here we are on the edges of the biggest crisis that has ever faced us. We need a new philosophy for these times, for this near-terminal moment in the history of the human. It is out of this I want to propose an existential creativity. How do I define it? It is the creativity wherein nothing should be wasted. As a writer, it means everything I write should be directed to the immediate end of drawing attention to the dire position we are in as a species. It means that the writing must have no frills. It should speak only truth. In it, the truth must be also beauty. It calls for the highest economy. It means that everything I do must have a singular purpose. It also means that I must write now as if these are the last things I will write, that any of us will write. If you knew you were at the last days of the human story, what would you write? How would you write? What would your aesthetics be? Would you use more words than necessary? What form would poetry truly take? And what would happen to humour? Would we be able to laugh, with the sense of the last days on us?

Words like this provide clarity and insight, don’t they?

I think they help contextualize complexity and they help us cut through destructive fantasies like endless growth.

They literally lay out the truth so that we can see, and hear, the world in which we live, as it really is and it reminds me what a zen teacher once told me: 

Zen practice shows us how to take care and take responsibility with, and as each moment, by opening attention to reality and responding to what actually needs to be done.

It being December, Okri’s words are all the more poignant as we enter this crazy period of hyper consumerism that we call the holiday season. 

This is how Okri concludes his article and I encourage you to read the entire thing: 

This is the best and most natural home we are ever going to have. And we need to become a new people to deserve it. We are going to have to be new artists to redream it. This is why I propose existential creativity, to serve the unavoidable truth of our times, and a visionary existentialism, to serve the future that we must bring about from the brink of our environmental catastrophe. We can only make a future from the depth of the truth we face now.

I’m intrigued by this notion of existential creativity, and I wonder what it might sound like?

(Sound of a piece of paper ripping)

Maybe it sounds like a piece of paper being torn. 

Once torn, the paper cannot be put back together again, like Humpty-Dumptyand one is left holding the pieces. 

More on the sound of some of these concepts in a future episode. 

I’ll end with an excerpt from episode 87, where theatre artist Kendra Fanconi comments upon Ben Okri’s article: 

We are all artists of the Anthropocene. We inherently are because this is the world that we’re living in right now. There’s no other world. We were down earlier at Robert’s Creek (BC) and it’s a salmon bearing stream. I think of it like we’re artists in the Anthropocene, like fish would be in the ocean: the water is all around us and the Anthropocene is all around us. I think it may be what Ben Okri is tasking us with is: can you describe the water? It’s all we know, but we need to be able to look from this moment now into the future and maybe that’s the job of artists. We’re the visionaries, we can see the future and we can envision it in different ways. I think he speaks to that too at the end of the article about saying part of why we need to talk about the times we’re in now is in relationship to a future, whatever that future looks like. And I do spend a lot of time trying to negotiate my belief in the future.

I wish you peace, peace of mind as you negotiate your own belief in the future.  

I want to thank Ben Okri and The Guardian newspaper for sharing these words and Kendra for her reflections upon them. 

And I thank you, for listening. 

The act of listening, to me, and maybe I should say the art of listening, true listening, sincere and radical listening, through to the depth of the truth, is at the heart of this moment.

*

L'épisode d'aujourd'hui présente des citations de Artists must confront the climate crisis – we must write as if these are the last days par le romancier et poète nigérian Ben Okri, tirées de l'édition du 12 novembre 2021 du journal The Guardian. Okri écrit sur la créativité existentielle et appelle à une nouvelle philosophie pour notre époque, avec un extrait de l'épisode 87 kendra fanconi.

balado conscient, épisode 89, dimanche 5 décembre 2021, 19h32

Je suis de retour à Ottawa et je vais enregistrer ce monologue en une seule prise, comme je le fais depuis le début de la saison 3 de ce podcast. C’est parti. 

L’épisode d’aujourd’hui présente des citations de Artists must confront the climate crisis – we must write as if these are the last days par le romancier et poète nigérian Ben Okri, tirées de l’édition du 12 novembre 2021 du journal The Guardian.

Voici la première citation de l’article de Ben Okri : 

Nous sommes ici au bord de la plus grande crise à laquelle nous n’ayons jamais été confrontés. Nous avons besoin d’une nouvelle philosophie pour ces temps, pour ce moment quasi-terminal de l’histoire de l’humain. C’est de cela que je veux proposer une créativité existentielle. Comment la définir ? C’est la créativité où rien ne doit être gaspillé. En tant qu’écrivain, cela signifie que tout ce que j’écris doit avoir pour objectif immédiat d’attirer l’attention sur la situation désastreuse dans laquelle nous nous trouvons en tant qu’espèce. Cela signifie que l’écriture ne doit pas avoir de fioritures. Il ne doit dire que la vérité. En elle, la vérité doit être aussi la beauté. Cela demande la plus grande économie. Cela signifie que tout ce que je fais doit avoir un but singulier. Cela signifie aussi que je dois écrire maintenant comme si c’était les dernières choses que j’écrirais, que chacun d’entre nous écrira. Si vous saviez que vous en êtes aux derniers jours de l’histoire humaine, qu’écririez-vous ? Comment écririez-vous ? Quelle serait votre esthétique ? Utiliseriez-vous plus de mots que nécessaires ? Quelle forme prendrait vraiment la poésie ? Et qu’adviendrait-il de l’humour ? Serions-nous capables de rire, avec le sentiment des derniers jours sur nous ?

Des mots comme ceux-ci apportent clarté et perspicacité, n’est-ce pas ?

Je pense qu’ils aident à contextualiser la complexité et qu’ils nous aident à couper court aux fantasmes destructeurs comme la croissance sans fin.

Ils exposent littéralement la vérité afin que nous puissions voir, et entendre, le monde dans lequel nous vivons, tel qu’il est vraiment et cela me rappelle ce qu’un professeur zen m’a dit un jour : 

La pratique du zen nous montre comment prendre soin et assumer nos responsabilités à chaque instant, en portant notre attention sur la réalité et en répondant à ce qui doit être fait.

Maintenant que nous sommes en décembre, les mots d’Okri sont d’autant plus poignants que nous entrons dans cette folle période d’hyperconsommation que nous appelons la période des fêtes. 

C’est ainsi qu’Okri conclut son article et je vous encourage à le lire en entier : 

C’est le meilleur et le plus naturel foyer que nous ayons jamais eu. Et nous devons devenir un nouveau peuple pour le mériter. Nous devons être de nouveaux artistes pour le redessiner. C’est pourquoi je propose une créativité existentielle, au service de l’inévitable vérité de notre époque, et un existentialisme visionnaire, au service de l’avenir que nous devons créer au bord de notre catastrophe environnementale. Nous ne pouvons créer un avenir qu’à partir de la profondeur de la vérité à laquelle nous sommes confrontés aujourd’hui.

Maintenant, je suis intrigué par cette notion de créativité existentielle et je me demande à quoi elle peut ressembler ? 

(Bruit d’une feuille de papier qui se déchire)

Peut-être que cela ressemble à une feuille de papier que l’on déchire. 

Une fois déchiré, le papier ne peut pas être recollé, comme Humpty-Dumpty, et on se retrouve avec les morceaux. 

Nous reviendrons sur le son de certains de ces concepts dans un prochain épisode. 

Je terminerai par un extrait de l’épisode 87, où l’artiste de théâtre Kendra Fanconi commente l’article de Ben Okri : 

Nous sommes tous des artistes de l’Anthropocène. Nous le sommes par nature, car c’est le monde dans lequel nous vivons en ce moment. Il n’y a pas d’autre monde. Nous étions tout à l’heure à Robert’s Creek (BC) et c’est un ruisseau à saumon. Je pense que nous sommes des artistes dans l’Anthropocène, comme des poissons dans l’océan : l’eau est tout autour de nous et l’Anthropocène est tout autour de nous. Je pense que ce que Ben Okri nous demande, c’est de décrire l’eau. C’est tout ce que nous savons, mais nous devons être capables d’envisager l’avenir à partir de ce moment présent, et c’est peut-être là le travail des artistes. Nous sommes les visionnaires, nous pouvons voir l’avenir et nous pouvons l’envisager de différentes manières. Je pense qu’il en parle aussi à la fin de l’article en disant qu’une partie de la raison pour laquelle nous devons parler de l’époque dans laquelle nous sommes maintenant est en relation avec un avenir, quel que soit cet avenir. Et je passe beaucoup de temps à essayer de négocier ma foi en l’avenir.

Je vous souhaite la paix, la paix de l’esprit alors que vous négociez votre propre croyance en l’avenir.  

Je tiens à remercier Ben Okri et le journal The Guardian pour avoir partagé ces mots et Kendra pour ses réflexions à leur sujet. 

Et je vous remercie d’avoir écouté. 

L’acte d’écouter, pour moi, et peut-être devrais-je dire l’art d’écouter, la véritable écoute, l’écoute sincère et radicale, jusqu’à la profondeur de la vérité, est au cœur de ce moment.

The post e89 excerpts from ben okri’s ‘artists must confront the climate crisis’ appeared first on conscient podcast / balado conscient. conscient is a bilingual blog and podcast (French or English) by audio artist Claude Schryer that explores how arts and culture contribute to environmental awareness and action.

———-

About the Concient Podcast from Claude Schryer

The conscient podcast / balado conscient is a series of conversations about art, conscience and the ecological crisis. This podcast is bilingual (in either English or French). The language of the guest determines the language of the podcast. Episode notes are translated but not individual interviews.

I started the conscient project in 2020 as a personal learning journey and knowledge sharing exercise. It has been rewarding, and sometimes surprising.

The term ‘conscient’ is defined as ‘being aware of one’s surroundings, thoughts and motivations’. My touchstone for the podcast is episode 1, e01 terrified, based on an essay I wrote in May 2019, where I share my anxiety about the climate crisis and my belief that arts and culture can play a critical role in raising public awareness about environmental issues. The conscient podcast / balado conscient follows up on my http://simplesoundscapes.ca (2016–2019) project: 175, 3-minute audio and video field recordings that explore mindful listening.

Season 1 (May to October 2020) explored how the arts contribute to environmental awareness and action. I produced 3 episodes in French and 15 in English. The episodes cover a wide range of content, including activism, impact measurement, gaming, arts funding, cross-sectoral collaborations, social justice, artistic practices, etc. Episodes 8 to 17 were recorded while I was at the Creative Climate Leadership USA course in Arizona in March 2020 (led by Julie’s Bicycle). Episode 18 is a compilation of highlights from these conversations.

Season 2 (March 2021 – ) explores the concept of reality and is about accepting reality, working through ecological grief and charting a path forward. The first episode of season 2 (e19 reality) mixes quotations from 28 authors with field recordings from simplesoundscapes and from my 1998 soundscape composition, Au dernier vivant les biens. One of my findings from this episode is that ‘I now see, and more importantly, I now feel in my bones, ‘the state of things as they actually exist’, without social filters or unsustainable stories blocking the way’. e19 reality touches upon 7 topics: our perception of reality, the possibility of human extinction, ecological anxiety and ecological grief, hope, arts, storytelling and the wisdom of indigenous cultures. The rest of season 2 features interviews with thought leaders about their responses and reactions to e19 reality.

my professional services

I’ve been retired from the Canada Council for the Arts since September 15, 2020 where I served as a senior strategic advisor in arts granting (2016-2020) and manager of the Inter-Arts Office (1999-2015). My focus in (quasi) retirement is environmental issues within my area of expertise in arts and culture, in particular in acoustic ecology. I’m open to become involved in projects that align with my values and that move forward environmental concerns. Feel free to email me for a conversation : claude@conscient.ca

acknowledgement of eco-responsibility

I acknowledge that the production of the conscient podcast / balado conscient produces carbon. I try to minimize this carbon footprint by being as efficient as possible, including using GreenGeeks as my web server and acquiring carbon offsets for my equipment and travel activities from BullFrog Power and Less.

a word about privilege and bias

While recording episode 19 ‘reality’, I heard elements of ‘privilege’ in my voice that I had not noticed before. It sounded a bit like ‘ecological mansplaining’. I realize that, in spite of good intentions, I need to work my way through issues of privilege (of all kinds) and unconscious bias the way I did through ecological anxiety and grief during the fall of 2020. My re-education is ongoing.

Go to conscient.ca

Powered by WPeMatico

Conscient Podcast: e88 robin mathews – on radical listening & political poetry

My #conscientpodcast conversation with my father-in-law, the poet and educator Robin Mathews, which combines a 2021 recording about radical listening with a 2004 recording about political poetry and the role of the artist in society, including Robin reading 3 of his poems: at the Café LeninThe Lady From Iraq and Unmarked Graves.

This is a special edition of the conscient podcast. You’ll hear two recordings that I did with my father in the law, the poet and educator Robin Mathews. I did not narrate his extensive biography however there are some links in the episode notes below for you to learn more about his distinguished career as a writer and activist. 

The first recording is from just a few days in Vancouver, where I ask him to help me understand the origins of the term radical and also the notion of radical listening, which is the theme of this 3rd season. The second recording is from 17 years ago, in 2004 which was a series of conversation I had with Robin about political poetry and the role of the artist in society. I thought I would bring these two conversations together in this episode.

You’ll also hear him read three of his poems. The first is at the Café Lenin from his Think Freedom book of poetry published in 2004 by Northland Publications.  The second is The Lady From Iraq, written in 1991. The third is from this year, called Unmarked Graves

In particular I like this quote from our 2004 conversation about the role of the artists in society:

It doesn’t do to dictate about the artist, because artists are as various as it is possible to be. A great many artists can only have their being in withdrawal and insularity, retreat and silence and so to call upon them to be social activists would be wounding and maybe destructive but in the large picture of the artist in the society, even the artists that I have described, must in himself or herself, recognize that to be artists is a special function and a special blessing and in response to it, the artist must take responsibility for the nature of the society in which he or she lives. And that’s asking a great deal, but I don’t think it’s asking too much.

I want thank Robin for sharing his deep knowledge of arts and culture and his passion for poetry and literature. I also thank him for being a generous and supportive father-in-law to me and a loving grandfather to our children. Though she does not appear in this episode, I also recognize the work and wisdom of Esther Mathews as an activist and cultural worker. 

Poems narrated in this episode

at the Café Lenin (2004)

We’ll meet at the Café Lenin. 

when the midnight hour has toiled.

We’ll drink to the hopes, the past held dear

on a planet grown tragically old 

We’ll mourn the loss of the ozone, 

the oceans depleted of fish; we’ll remember the songs that were sung by the frogs,

we’ll remember and wonder and wish 

We’ll sit in the Café Lenin 

with its decor of scarlet and black 

mourning the million’s gone down to their grave

so the markets can stay ‘on track’. 

We’ll drink to the men and the women 

who fight for the Good and the Just

and are torn from hope and human love 

by Imperial greed and lust. 

We’ll praise all revolutions – 

no matter how poor or small – 

where the weak and the tortured fight to break free 

of Capital’s murdering thrall. 

We’ll meet at the Café Lenin 

in the darkness and dead of our night. 

We’ll remember, dream – and then plan a fresh

for a New Day filled with Light.

The Lady from Iraq

The lady in the High-Class Store, backs the madmen on the Hill. She blesses them and thinks it right, that they should kill and kill, because the world, she says, is bad and good. Our leaders stand up for the right. The bad must feel our heavy wrath falling on them in the night.

The lady in the High-Class Store Doesn’t wish her neighbour ill, Doesn’t have a racist hate, Doesn’t rifle from the till.

Like you and me she starts her day with coffee by her lawn side view, Sews for her daughter, loves her son, Fears the different and the new.

She talks about our U.S. friends. She says they need to go to war. As friends we ought to follow them. We can’t do less, she thinks, or more.

She’s built herself a fortress mind. She wanders in a burning wood where admen tell her what is True, The TV tells her what is Good.

She doesn’t know her choice has been. Packaged somewhere far away. When she sees there’s throwing stones, She wants to throw some of her own.

Her leaders know that. They depend that she’ll continue being she. They build their banal madness on her firm predictability.

Unmarked Graves (2021)

Hearing voices rising from unmarked graves 

seeing forms as though of bodies

bound in ill-fitting cerements

moving away from habitations
moving silently through unbroken forest

as if along worn trails

Hearing voices murmuring unintelligible phrases 

and seeing the shapes of bodies 

(or what were once bodies)

bound in ill-fitting cerements
moving silently through unbroken forest
moving where there is no pathway….
Their voices rising from unmarked graves
echo in the empty passageways of memory.

When they speak
(as if they are speaking to one another)
their voices rising from unmarked graves
are not wise and rounded and certain voices
(as the voices of the dead should be:
voices that rise from completed lives)
they are uncertain voices 
echoing in the empty passageways of memory.

No history can restore them.
No intention can give them wholeness back, 
as if their destiny
is barely to be heard or seen
except as voices rising from unmarked graves –
except as shadows bound in ill-fitting cerements
moving through unbroken forest – 
having been given release
to utter cries of forlorn hope
cries that come to the ears as the cries of those
lost in the empty passageways of memory –
as cries uttered in sadness and abandonment
rising from the unmarked graves of those not known
or remembered
but walking on the ghostly pathways
of a past erased
and only found again in palsied memory … 
and in dream.

Links mention in this episode

Robin and Esther Mathews, November 2021, Vancouver
Robin Mathews and me, November 2021, Vancouver

*

Ma conversation #baladoconscient avec mon beau-père, le poète et éducateur Robin Mathews, qui allie un enregistrement de 2021 sur l'écoute radicale avec un enregistrement de 2004 sur la poésie politique et le rôle de l'artiste sur la société, avec Robin lisant 3 de ses poèmes : at the Café LeninThe Lady From Iraq et Unmarked Graves.

Ceci est une édition spéciale du balado conscient. Vous allez entendre deux enregistrements que j’ai réalisés avec mon beau-père, le poète et éducateur Robin Mathews. Je n’ai pas fait la narration de sa biographie détaillée, mais vous trouverez des liens ci-dessous pour en savoir plus sur sa carrière distinguée d’écrivain et d’activiste. 

Le premier enregistrement a eu lieu lue 25 novembre, 2021 à Vancouver, où je lui demande de m’aider à comprendre les origines du mot radical et aussi la notion d’écoute radicale, qui est le thème de cette 3e saison. Le deuxième enregistrement date d’il y a 17 ans, en 2004. Il s’agit d’une série de conversations que j’ai eues avec Robin sur la poésie politique et le rôle de l’artiste dans la société. J’ai donc pensé réunir ces deux conversations dans cet épisode.

Vous l’entendrez également lire trois de ses poèmes. Le premier s’intitule At the Café Lenin et est tiré de son recueil de poèmes Think Freedom publié en 2004 par Northland Publications.  Le deuxième est The Lady From Iraq, écrit en 1991. Le troisième, que vous allez entendre, date de cette année et s’intitule Unmarked Graves

J’aime particulièrement cette citation tirée de notre conversation de 2004 sur le rôle des artistes dans la société :

Il ne faut pas dicter le rôle de l’artiste, car les artistes sont aussi divers qu’il est possible de l’être. Un grand nombre d’artistes ne peuvent exister que dans l’Isolement, l’insularité, la retraite et le silence, et leur demander d’être des activistes sociaux serait blessant et peut-être destructeur, mais dans l’image globale de l’artiste dans la société, même les artistes que j’ai décrits, doivent reconnaître qu’être artiste est une fonction spéciale et une bénédiction spéciale, et en réponse à cela, l’artiste doit prendre la responsabilité de la nature de la société dans laquelle il ou elle vit. Et c’est beaucoup demander, mais je ne pense pas que ce soit trop demander.

Je tiens à remercier Robin d’avoir partagé sa profonde connaissance des arts et de la culture et sa passion pour la poésie et la littérature. Je le remercie également d’avoir été un beau-père généreux et solidaire pour moi et un grand-père aimant pour nos enfants. Bien qu’elle n’apparaisse pas dans cet épisode, je reconnais également le travail et la sagesse d’Esther Mathews en tant que militante et travailleuse culturelle.

The post e88 robin mathews – on radical listening & political poetry appeared first on conscient podcast / balado conscient. conscient is a bilingual blog and podcast (French or English) by audio artist Claude Schryer that explores how arts and culture contribute to environmental awareness and action.

———-

About the Concient Podcast from Claude Schryer

The conscient podcast / balado conscient is a series of conversations about art, conscience and the ecological crisis. This podcast is bilingual (in either English or French). The language of the guest determines the language of the podcast. Episode notes are translated but not individual interviews.

I started the conscient project in 2020 as a personal learning journey and knowledge sharing exercise. It has been rewarding, and sometimes surprising.

The term ‘conscient’ is defined as ‘being aware of one’s surroundings, thoughts and motivations’. My touchstone for the podcast is episode 1, e01 terrified, based on an essay I wrote in May 2019, where I share my anxiety about the climate crisis and my belief that arts and culture can play a critical role in raising public awareness about environmental issues. The conscient podcast / balado conscient follows up on my http://simplesoundscapes.ca (2016–2019) project: 175, 3-minute audio and video field recordings that explore mindful listening.

Season 1 (May to October 2020) explored how the arts contribute to environmental awareness and action. I produced 3 episodes in French and 15 in English. The episodes cover a wide range of content, including activism, impact measurement, gaming, arts funding, cross-sectoral collaborations, social justice, artistic practices, etc. Episodes 8 to 17 were recorded while I was at the Creative Climate Leadership USA course in Arizona in March 2020 (led by Julie’s Bicycle). Episode 18 is a compilation of highlights from these conversations.

Season 2 (March 2021 – ) explores the concept of reality and is about accepting reality, working through ecological grief and charting a path forward. The first episode of season 2 (e19 reality) mixes quotations from 28 authors with field recordings from simplesoundscapes and from my 1998 soundscape composition, Au dernier vivant les biens. One of my findings from this episode is that ‘I now see, and more importantly, I now feel in my bones, ‘the state of things as they actually exist’, without social filters or unsustainable stories blocking the way’. e19 reality touches upon 7 topics: our perception of reality, the possibility of human extinction, ecological anxiety and ecological grief, hope, arts, storytelling and the wisdom of indigenous cultures. The rest of season 2 features interviews with thought leaders about their responses and reactions to e19 reality.

my professional services

I’ve been retired from the Canada Council for the Arts since September 15, 2020 where I served as a senior strategic advisor in arts granting (2016-2020) and manager of the Inter-Arts Office (1999-2015). My focus in (quasi) retirement is environmental issues within my area of expertise in arts and culture, in particular in acoustic ecology. I’m open to become involved in projects that align with my values and that move forward environmental concerns. Feel free to email me for a conversation : claude@conscient.ca

acknowledgement of eco-responsibility

I acknowledge that the production of the conscient podcast / balado conscient produces carbon. I try to minimize this carbon footprint by being as efficient as possible, including using GreenGeeks as my web server and acquiring carbon offsets for my equipment and travel activities from BullFrog Power and Less.

a word about privilege and bias

While recording episode 19 ‘reality’, I heard elements of ‘privilege’ in my voice that I had not noticed before. It sounded a bit like ‘ecological mansplaining’. I realize that, in spite of good intentions, I need to work my way through issues of privilege (of all kinds) and unconscious bias the way I did through ecological anxiety and grief during the fall of 2020. My re-education is ongoing.

Go to conscient.ca

Powered by WPeMatico

Conscient Podcast: e87 kendra fanconi – on the artist brigade, ben okri, eco-restoration, eco-grief & reauthoring the world

My 2nd #conscientpodcast conversation with theatre artist and art + climate activist Kendra Fanconi in Robert’s Creek, BC about the ‘Artist Brigade’, Ben Okri, eco-restoration, eco-grief & reauthoring the world, with excerpts from e43 haleye30 maggs & é37 lebeau.

Robert’s Creek is on the ancient and unceded territory of the shishalh Nation.  The shishalh people call Robert’s Creek xwesam.  

I’ve known Kendra for many years, first through her work with Radix Theatre then as an arts and environment advocate in the community, notably through The Only Animal company, which she co-founded with Eric Rhys Miller in 2005 and which has created over 30 shows  that ‘take theatre places it has never gone before’. I’ve always admired Kendra’s vision, her calm demeanour, her strategic mind, and deep commitment to environment issues, as you’ll hear on our conversation, which recorded in her kitchen in Robert’s Creek, BC. 

My goal with this series of second conversations is to go deeper into issues from our initial conversation, to hear updates on their work as well as their vision for the future. 

Kendra gave me an update on the ‘Artists Brigade’ project, her perspectives Nigerian novelist and poet Ben Okri’s call to action Artists must confront the climate crisis – we must write as if these are the last days article, ecological restoration, the work of death doula and climate grief advisor Corey Mathews (Hardeman), the impact of eco-anxiety and about reauthoring the world, including excerpts from e43 haleye30 maggs & é37 lebeau.

Links mentioned during our conversation :

I was also moved by this quote from my conversation with Kendra:

I think the climate movement is full of love and care. Those are the people who get involved. Even though we have this sort of vision of the angry activists. I think at the heart of it, it’s about care and love. And so, I found that definition of climate grief and the link of love and loss to be very reassuring and to know that grieving in community, which may be is, I mentioned to you earlier, this sort of love that I have for this climate brethren, artists who care about climate, that I’ve found on how nourishing that is for me. Maybe we all do it together? We’re locked in this love and loss and we’re doing it as a community and versus doing it alone, which I feel like I did do for many years before I got involved in this way. It’s just so much better.

Excerpt from previous conscient episodes used in e87:

 David Haley (e43 haley):

What I have learned to do, and this is my practice, is to focus on making space. This became clear to me when I read, Lila : An inquiry into morals by Robert Pirsig. Towards the end of the book, he suggests that the most moral act of all, is to create the space for life to move onwards and it was one of those sentences that just rang true with me, and I’ve held onto that ever since and pursued the making of space, not the filling of it.

David Maggs (e30 maggs):

Complexity is the world built of relationships and it’s a very different thing to engage what is true or real in a complexity framework than it is to engage in it, in what is a modernist Western enlightenment ambition, to identify the absolute objective properties that are intrinsic in any given thing. Everyone is grappling with the fact that the world is exhibiting itself so much in these entanglements of relationships. The arts are completely at home in that world. And so, we’ve been sort of under the thumb of the old world. We’ve always been a kind of second-class citizen in an enlightenment rationalist society. But once we move out of that world and we move into a complexity framework, suddenly the arts are entirely at home, and we have capacity in that world that a lot of other sectors don’t have. What I’ve been trying to do with this report (Art and the World After This) is articulate the way in which these different disruptions are putting us in a very different reality and it’s a reality in which we go from being a kind of secondary entertaining class to, maybe, having a capacity to sit at the heart of a lot of really critical problem-solving challenges.

Anne-Catherine Lebeau (é37 lebeau.):

Note: translation from the French

For me, it is certain that we need more collaboration. That’s what’s interesting. Moving from a ‘Take Make Waste’ model to ‘Care Dare Share’. To me, that says a lot. I think we need to look at everything we have in the arts as a common good that we need to collectively take care of. Often, at the beginning, we talked in terms of doing as little harm as possible to the environment, not harming it, that’s often how sustainable development was presented, then by doing research, and by being inspired, among other things, by what is done at the Ellen MacArthur Foundation in England, around circular economies, I realized that they talk about how to nourish a new reality. How do you create art that is regenerative? Art that feeds something.

Ocean view at Robert’s Creek, November 24, 2021
Kendra Fanconi, eyes closed, in her Kitchen, Robert’s Creek, BC. November 24, 2021
Kendra (and cat) at bridge over the creek at her house, Robert’s Creek, BC November 24, 2021

*

Ma deuxième conversation #baladoconscient avec Kendra Fanconi, artiste de théâtre et activiste pour l'art et le climat, à Robert's Creek, en Colombie-Britannique, sur la "Brigade des artistes", Ben Okri, l'éco-restauration, l'éco-chagrin et la réécriture du monde, avec des extraits de e43 haleye30 maggs & é37 lebeau.

Robert's Creek se trouve sur le territoire ancien et non cédé de la nation shishalh.  Le peuple shishalh appelle Robert's Creek xwesam.  

Je connais Kendra depuis de nombreuses années, d’abord par son travail avec Radix Theatre, puis en tant que défenseur des arts et de l’environnement dans la communauté, notamment par le biais de la compagnie The Only Animal, qu’elle a cofondée avec Eric Rhys Miller en 2005 et qui a créé plus de 30 spectacles qui “emmènent le théâtre là où il n’est jamais allé auparavant”. J’ai toujours admiré la vision de Kendra, son comportement calme, son esprit stratégique et son profond engagement envers les questions environnementales, comme vous pourrez l’entendre au cours de notre conversation, enregistrée dans sa cuisine à Robert’s Creek, en Colombie-Britannique. 

L’objectif de cette série de secondes conversations est d’approfondir les questions abordées lors de notre première conversation, d’entendre des mises à jour sur leur travail ainsi que leur vision de l’avenir. 

Kendra m’a parlé du projet de la “Brigade des artistes”, de son point de vue sur l’appel à l’action du romancier et poète nigérian Ben Okri, de l’article “Les artistes doivent faire face à la crise climatique – nous devons écrire comme si c’était les derniers jours”, de la restauration écologique, du travail de Corey Mathews (Hardeman), doula de mort et conseiller en matière de deuil climatique, sur la réécriture du monde, y compris des extraits de e43 haleye30 maggs & é37 lebeau.

Liens mentionnés au cours de la conversation 

J’ai également été émue par cette citation tirée de ma conversation avec Kendra :

Je pense que le mouvement climatique est plein d’amour et d’attention. Ce sont les personnes qui s’impliquent. Même si nous avons cette sorte de vision des activistes en colère. Je pense qu’au fond, il s’agit d’amour et de compassion. Et donc, j’ai trouvé cette définition du deuil climatique et le lien entre l’amour et la perte très rassurant et de savoir que le deuil en communauté, qui est peut-être, je vous l’ai dit plus tôt, cette sorte d’amour que j’ai pour ces frères du climat, les artistes qui se soucient du climat, que j’ai trouvé sur la façon dont il est nourrissant pour moi. Peut-être que nous le faisons tous ensemble ? Nous sommes enfermés dans cet amour et cette perte et nous le faisons en tant que communauté plutôt que de le faire seuls, ce que j’ai l’impression d’avoir fait pendant de nombreuses années avant de m’engager de cette manière. C’est tellement mieux.

Extrait de précédents épisodes du balado conscient utilisés dans e87 :

David Haley (e43 haley)

Ce que j’ai appris à faire, et c’est ma pratique, c’est de me concentrer sur la création d’un espace. Cela m’est apparu clairement lorsque j’ai lu la : Lila : An inquiry into morals de Robert Pirsig. Vers la fin du livre, il suggère que l’acte le plus moral de tous est de créer l’espace nécessaire à la vie pour aller de l’avant. C’est l’une de ces phrases qui m’ont semblé vraies, et j’y ai adhéré depuis lors, en cherchant à créer de l’espace, et non à le remplir.

David Maggs (e30 maggs) :

La complexité est le monde construit de relations et c’est une chose très différente de s’engager dans ce qui est vrai ou réel dans un cadre de complexité que de s’y engager, dans ce qui est une ambition occidentale moderniste, de l’époque des Lumières (enlightenment), d’identifier les propriétés objectives absolues qui sont intrinsèques à toute chose donnée. Tout le monde est aux prises avec le fait que le monde s’expose tellement dans ces enchevêtrements de relations. Les arts sont complètement à l’aise dans ce monde. Et donc, nous avons été en quelque sorte sous la coupe de l’ancien monde. Nous avons toujours été une sorte de citoyen de seconde classe dans une société rationaliste de l’époque des Lumières. Mais une fois que nous sortons de ce monde et que nous entrons dans un cadre de complexité, les arts sont tout à fait à leur place et nous avons une capacité dans ce monde que beaucoup d’autres secteurs n’ont pas. Ce que j’ai essayé de faire avec ce rapport (Art and the World After This), c’est d’articuler la manière dont ces différentes perturbations nous placent dans une réalité très différente, une réalité dans laquelle nous passons d’une sorte de classe secondaire de divertissement à, peut-être, une capacité à prendre notre place au cœur de la résolution d’un grand nombre de problèmes vraiment critiques.

Anne-Catherine Lebeau (é37 lebeau) :

Pour moi, c’est sûr que ça passe par plus de collaboration. C’est ça qui est intéressant aussi. Vraiment passer du modèle ‘Take Make Waste’ à ‘Care Dare Share’. Pour moi, ça dit tellement de choses. Je pense qu’on doit considérer tout ce qu’on a dans le domaine artistique comme un bien commun dont on doit collectivement prendre soin. Souvent, au début, on parlait en termes de faire le moins de tort possible à l’environnement, ne pas nuire, c’est souvent comme ça que l’on présente le développement durable, puis en faisant des recherches, et en m’inspirant, entre autres, de ce qui se fait à la Fondation Ellen MacArthur  en Angleterre, en économie circulaire, je me suis rendu compte qu’eux demandent comment faire en sorte de nourrir une nouvelle réalité. Comment créer de l’art qui soit régénératif? Qui nourrisse quelque chose.

The post e87 kendra fanconi – on the artist brigade, ben okri, eco-restoration, eco-grief & reauthoring the world appeared first on conscient podcast / balado conscient. conscient is a bilingual blog and podcast (French or English) by audio artist Claude Schryer that explores how arts and culture contribute to environmental awareness and action.

———-

About the Concient Podcast from Claude Schryer

The conscient podcast / balado conscient is a series of conversations about art, conscience and the ecological crisis. This podcast is bilingual (in either English or French). The language of the guest determines the language of the podcast. Episode notes are translated but not individual interviews.

I started the conscient project in 2020 as a personal learning journey and knowledge sharing exercise. It has been rewarding, and sometimes surprising.

The term ‘conscient’ is defined as ‘being aware of one’s surroundings, thoughts and motivations’. My touchstone for the podcast is episode 1, e01 terrified, based on an essay I wrote in May 2019, where I share my anxiety about the climate crisis and my belief that arts and culture can play a critical role in raising public awareness about environmental issues. The conscient podcast / balado conscient follows up on my http://simplesoundscapes.ca (2016–2019) project: 175, 3-minute audio and video field recordings that explore mindful listening.

Season 1 (May to October 2020) explored how the arts contribute to environmental awareness and action. I produced 3 episodes in French and 15 in English. The episodes cover a wide range of content, including activism, impact measurement, gaming, arts funding, cross-sectoral collaborations, social justice, artistic practices, etc. Episodes 8 to 17 were recorded while I was at the Creative Climate Leadership USA course in Arizona in March 2020 (led by Julie’s Bicycle). Episode 18 is a compilation of highlights from these conversations.

Season 2 (March 2021 – ) explores the concept of reality and is about accepting reality, working through ecological grief and charting a path forward. The first episode of season 2 (e19 reality) mixes quotations from 28 authors with field recordings from simplesoundscapes and from my 1998 soundscape composition, Au dernier vivant les biens. One of my findings from this episode is that ‘I now see, and more importantly, I now feel in my bones, ‘the state of things as they actually exist’, without social filters or unsustainable stories blocking the way’. e19 reality touches upon 7 topics: our perception of reality, the possibility of human extinction, ecological anxiety and ecological grief, hope, arts, storytelling and the wisdom of indigenous cultures. The rest of season 2 features interviews with thought leaders about their responses and reactions to e19 reality.

my professional services

I’ve been retired from the Canada Council for the Arts since September 15, 2020 where I served as a senior strategic advisor in arts granting (2016-2020) and manager of the Inter-Arts Office (1999-2015). My focus in (quasi) retirement is environmental issues within my area of expertise in arts and culture, in particular in acoustic ecology. I’m open to become involved in projects that align with my values and that move forward environmental concerns. Feel free to email me for a conversation : claude@conscient.ca

acknowledgement of eco-responsibility

I acknowledge that the production of the conscient podcast / balado conscient produces carbon. I try to minimize this carbon footprint by being as efficient as possible, including using GreenGeeks as my web server and acquiring carbon offsets for my equipment and travel activities from BullFrog Power and Less.

a word about privilege and bias

While recording episode 19 ‘reality’, I heard elements of ‘privilege’ in my voice that I had not noticed before. It sounded a bit like ‘ecological mansplaining’. I realize that, in spite of good intentions, I need to work my way through issues of privilege (of all kinds) and unconscious bias the way I did through ecological anxiety and grief during the fall of 2020. My re-education is ongoing.

Go to conscient.ca

Powered by WPeMatico

Conscient Podcast: e86 arts policy, equity and activism class at centennial college

My #conscientpodcast conversation with Robin Sokoloski, Janis Monture and their students as part of a class in Art Policy, Equity and Activism at Centennial College in Toronto exploring the role of the arts in activism, including quotes from e40 frasze82 washable painte05 carrutherse73 judith marcuse – finding the energy to keep moving and e85 tracey friesen – narratives of resilience for a post carbon world.

Robin Sokoloski and Janis Monture teach a class in Art Policy, Equity and Activism at Centennial College in Toronto and asked me to be guest speaker on the issue of art and activism on November 23, 2021. The class kindly agreed to have the class recorded as episode 86 of this podcast. 

I’ve known Robin from many years in her role with Mass Culture and more recently as a co-founder of the Sectoral Climate Arts Leadership for the Emergency (SCALE) network. Robin was also my guest on episode 61 of this podcast. I met Janis many years ago back when I ran the Inter-Arts Office at Canada Council for the Arts in her role with the Woodland Cultural Centre.

Before the class Robin suggested I read this article : Assessing the Impact of Artistic Activism, which I recommend to anyone interested in art and activism. 

The conversation took place in ‘interview’ style. Robin asked me four questions: 

What is the arts role in activism when it comes to positive social good?

Can art affect policy? Is there an example you can think of?

What role can arts funders play when it comes to art and activism?

Share your current interest in art activism. What possibilities do you see within the arts or general public that encourage you to continue this work?

My answers, as well as my interaction with students, are in the recording. 

This episode also includes excerpts from e40 frasze82 washable painte05 carrutherse73 judith marcuse – finding the energy to keep moving and e85 tracey friesen – narratives of resilience for a post carbon world.

Links referred to in this episode:

Some of the arts policy, equity and activism class at centennial college on november 23, 2021

*

Ma conversation #baladoconscient avec Robin Sokoloski, Janis Monture et leurs étudiants dans le cadre d'un cours sur la politique artistique, l'équité et l'activisme au Centennial College de Toronto sur le rôle des arts dans l'activisme, y inclut des extraits des épisodes suivants: e40 frasze82 washable painte05 carrutherse73 judith marcuse – finding the energy to keep moving et e85 tracey friesen – narratives of resilience for a post carbon world.

Robin Sokoloski et Janis Monture donnent un cours sur la politique artistique, l’équité et l’activisme au Centennial College de Toronto et m’ont demandé d’être conférencier invité sur la question de l’art et de l’activisme le 23 novembre 2021. La classe a aimablement accepté que le cours soit enregistré comme l’épisode 86 de ce balado. 

Je connais Robin depuis de nombreuses années dans le cadre de son rôle au sein de Mobilisation culturelle et, plus récemment, en tant que cofondatrice du réseau Leadership sectorial des arts sur l’urgence de la transition écologique (LeSAUT). Robin était également mon invitée dans l’épisode 61 de ce balado. J’ai rencontré Janis il y a de nombreuses années, lorsque je dirigeais le Bureau Inter-Arts du Conseil des arts du Canada dans le cadre de son rôle au Woodland Cultural Centre.  

Avant le cours, Robin m’a suggéré de lire cet article : Assessing the Impact of Artistic Activism, que je recommande à toute personne intéressée par l’art et l’activisme. 

La conversation s’est déroulée sous la forme d’une “interview”. Robin m’a posé quatre questions : 

1.      Quel est le rôle des arts dans l’activisme lorsqu’il s’agit de faire du bien social ?

2.      L’art peut-il influer sur la politique ? Y a-t-il un exemple auquel vous pouvez penser ?

3.      Quel rôle les organismes de financement des arts peuvent-ils jouer en ce qui concerne l’art et l’activisme ?

4.      Partagez votre intérêt actuel pour l’activisme artistique. Quelles possibilités voyez-vous au sein des arts ou du grand public qui vous encouragent à poursuivre ce travail ?

Mes réponses, ainsi que mon interaction avec les étudiants, se trouvent dans l’enregistrement. 

Cet épisode comprend également des extraits de e40 frasze82 washable painte05 carrutherse73 judith marcuse – finding the energy to keep moving et e85 tracey friesen – narratives of resilience for a post carbon world.

Liens mentionnés dans cet épisode :

The post e86 arts policy, equity and activism class at centennial college appeared first on conscient podcast / balado conscient. conscient is a bilingual blog and podcast (French or English) by audio artist Claude Schryer that explores how arts and culture contribute to environmental awareness and action.

———-

About the Concient Podcast from Claude Schryer

The conscient podcast / balado conscient is a series of conversations about art, conscience and the ecological crisis. This podcast is bilingual (in either English or French). The language of the guest determines the language of the podcast. Episode notes are translated but not individual interviews.

I started the conscient project in 2020 as a personal learning journey and knowledge sharing exercise. It has been rewarding, and sometimes surprising.

The term ‘conscient’ is defined as ‘being aware of one’s surroundings, thoughts and motivations’. My touchstone for the podcast is episode 1, e01 terrified, based on an essay I wrote in May 2019, where I share my anxiety about the climate crisis and my belief that arts and culture can play a critical role in raising public awareness about environmental issues. The conscient podcast / balado conscient follows up on my http://simplesoundscapes.ca (2016–2019) project: 175, 3-minute audio and video field recordings that explore mindful listening.

Season 1 (May to October 2020) explored how the arts contribute to environmental awareness and action. I produced 3 episodes in French and 15 in English. The episodes cover a wide range of content, including activism, impact measurement, gaming, arts funding, cross-sectoral collaborations, social justice, artistic practices, etc. Episodes 8 to 17 were recorded while I was at the Creative Climate Leadership USA course in Arizona in March 2020 (led by Julie’s Bicycle). Episode 18 is a compilation of highlights from these conversations.

Season 2 (March 2021 – ) explores the concept of reality and is about accepting reality, working through ecological grief and charting a path forward. The first episode of season 2 (e19 reality) mixes quotations from 28 authors with field recordings from simplesoundscapes and from my 1998 soundscape composition, Au dernier vivant les biens. One of my findings from this episode is that ‘I now see, and more importantly, I now feel in my bones, ‘the state of things as they actually exist’, without social filters or unsustainable stories blocking the way’. e19 reality touches upon 7 topics: our perception of reality, the possibility of human extinction, ecological anxiety and ecological grief, hope, arts, storytelling and the wisdom of indigenous cultures. The rest of season 2 features interviews with thought leaders about their responses and reactions to e19 reality.

my professional services

I’ve been retired from the Canada Council for the Arts since September 15, 2020 where I served as a senior strategic advisor in arts granting (2016-2020) and manager of the Inter-Arts Office (1999-2015). My focus in (quasi) retirement is environmental issues within my area of expertise in arts and culture, in particular in acoustic ecology. I’m open to become involved in projects that align with my values and that move forward environmental concerns. Feel free to email me for a conversation : claude@conscient.ca

acknowledgement of eco-responsibility

I acknowledge that the production of the conscient podcast / balado conscient produces carbon. I try to minimize this carbon footprint by being as efficient as possible, including using GreenGeeks as my web server and acquiring carbon offsets for my equipment and travel activities from BullFrog Power and Less.

a word about privilege and bias

While recording episode 19 ‘reality’, I heard elements of ‘privilege’ in my voice that I had not noticed before. It sounded a bit like ‘ecological mansplaining’. I realize that, in spite of good intentions, I need to work my way through issues of privilege (of all kinds) and unconscious bias the way I did through ecological anxiety and grief during the fall of 2020. My re-education is ongoing.

Go to conscient.ca

Powered by WPeMatico

Conscient Podcast: e85 tracey friesen – narratives of resilience for a post carbon world

My #conscientpodcast conversation with media producer and cultural impact leader Tracey Friesen of Vancouver about increasing the power of media to affect social change, her book and organization Story Money Impact, and the good work of Good Pitch. Including quotes from e26 klein and e54 garrett.

I first met Tracey on September 21, 2021 at a Processing the federal election during a climate emergency Zoom event organized by the Climate Emergency Unit. Since then, we have kept in touch through our participation in SCALE (the Sectoral Climate Arts Leadership for the Emergency network). 

Our 30-minute conversation covered a lot of ground, however, we only touched the surface of Tracey’s vast experience and network of collaborators in the cultural industries, so I hope that another conversation is in order down the road!

Tracey has over 30 years’ experience in Canada’s cultural sector. She spent more than a decade at the National Film Board in Vancouver, where she earned producer or executive credits on dozens of documentary film, animation and digital projects. She’s also held contracts with organizations like Inspirit Foundation, Mindset Foundation, DOC, Roundhouse Radio, and the David Suzuki Foundation. Tracey is author and founder of Story Money Impact, the charitable society that brought us Good Pitch Vancouver and Story to Action, plus other initiatives to advance education around media impact. In 2013 she was named ‘Woman of the Year’ by Women in Film & TV Vancouver. She is currently Managing Vice-President, BC Branch, at the Canadian Media Producers Association, where she passionately represents and supports BC-based independent film and television producers.  

I was touched by this quote from Tracey near the end of the conversation:

I’m mindful that with the climate emergency, it’s so existential that it’s captured my attention perhaps most strongly because I really hope that in the kind of complicated dynamic of the wonderful, wild world that we’re in right now, that it’s one thing that will impact all of us. Not the same way, certainly, there are those of us living in different parts of the world that will be affected in different ways, but it’s such a global community, it has to come together in all the ways that they can. So, we do need the scientists and we do need all of the work being done across all of the important social issues that are happening right now. And we really do need the storytellers to validate that their story driven, narrative driven, emotionally driven pieces of work will help to touch people now to change their behaviour or will help to soothe or reassure or be with them in the world post transition.

Tracey mentioned the following links during our conversation:

*

Ma conversation #baladoconscient avec la productrice de médias et leader dans le domaine de l'impact culturel Tracey Friesen de Vancouver sur l'augmentation du pouvoir des médias pour affecter le changement social, son livre et l’organisation Story Money Impact et le bon travail de Good Pitch.

J’ai rencontré Tracey pour la première fois le 21 septembre 2021 lors de l’événement sur Zoom, Comment comprendre l’élection fédérale sur l’urgence climatique, organisé par la Climate Emergency Unit. Depuis lors, nous sommes restées en contact grâce à notre participation à LeSAUT (Leadership Sectoriel des Arts pour l’urgence de la transition écologique). 

Notre conversation de 30 minutes a couvert beaucoup de terrain, mais nous n’avons fait qu’effleurer la vaste expérience de Tracey et son réseau de collaborateurs dans les industries culturelles, alors j’espère qu’une autre conversation s’imposera un jour !

Tracey a plus de 30 ans d’expérience dans le secteur culturel canadien. Elle a passé plus de dix ans à l’Office national du film à Vancouver, où elle a obtenu des crédits de production ou de direction pour des dizaines de films documentaires, d’animation et de projets numériques. Elle a également eu des contrats avec des organisations comme Inspirit Foundation, Mindset Foundation, DOC, Roundhouse Radio et la David Suzuki Foundation. Tracey est l’auteure et la fondatrice de Story Money Impact, la société caritative qui nous a donné Good Pitch Vancouver et Story to Action, ainsi que d’autres initiatives visant à faire progresser l’éducation sur l’impact des médias. En 2013, elle a été nommée “Femme de l’année” par Women in Film & TV Vancouver. Elle est actuellement vice-présidente directrice de la branche de la Colombie-Britannique de l’Association canadienne des producteurs de médias, où elle représente et soutient avec passion les producteurs indépendants de films et de télévision de la Colombie-Britannique.  

J’ai été touché par cette citation de Stacey vers la fin de la conversation :

Je suis consciente qu’avec l’urgence climatique, c’est tellement existentiel que cela a capté mon attention peut-être plus fortement parce que j’espère vraiment que dans le genre de dynamique compliquée du monde merveilleux et sauvage dans lequel nous sommes en ce moment, c’est une chose qui aura un impact sur nous tous. Pas de la même manière, certes, certains d’entre nous vivant dans différentes parties du monde seront affectés de différentes manières, mais il s’agit d’une communauté tellement mondiale qu’elle doit se rassembler de toutes les manières possibles. Nous avons donc besoin des scientifiques, nous avons besoin de tous les travaux réalisés sur toutes les questions sociales importantes qui se posent actuellement, et nous avons vraiment besoin que les conteurs valident le fait que leurs travaux axés sur l’histoire, la narration et l’émotion contribueront à toucher les gens et à modifier leur comportement, ou à les apaiser, les rassurer ou les accompagner dans le monde de l’après-transition.

Tracey a mentionné les liens suivants au cours de notre conversation :

The post e85 tracey friesen – narratives of resilience for a post carbon world appeared first on conscient podcast / balado conscient. conscient is a bilingual blog and podcast (French or English) by audio artist Claude Schryer that explores how arts and culture contribute to environmental awareness and action.

———-

About the Concient Podcast from Claude Schryer

The conscient podcast / balado conscient is a series of conversations about art, conscience and the ecological crisis. This podcast is bilingual (in either English or French). The language of the guest determines the language of the podcast. Episode notes are translated but not individual interviews.

I started the conscient project in 2020 as a personal learning journey and knowledge sharing exercise. It has been rewarding, and sometimes surprising.

The term ‘conscient’ is defined as ‘being aware of one’s surroundings, thoughts and motivations’. My touchstone for the podcast is episode 1, e01 terrified, based on an essay I wrote in May 2019, where I share my anxiety about the climate crisis and my belief that arts and culture can play a critical role in raising public awareness about environmental issues. The conscient podcast / balado conscient follows up on my http://simplesoundscapes.ca (2016–2019) project: 175, 3-minute audio and video field recordings that explore mindful listening.

Season 1 (May to October 2020) explored how the arts contribute to environmental awareness and action. I produced 3 episodes in French and 15 in English. The episodes cover a wide range of content, including activism, impact measurement, gaming, arts funding, cross-sectoral collaborations, social justice, artistic practices, etc. Episodes 8 to 17 were recorded while I was at the Creative Climate Leadership USA course in Arizona in March 2020 (led by Julie’s Bicycle). Episode 18 is a compilation of highlights from these conversations.

Season 2 (March 2021 – ) explores the concept of reality and is about accepting reality, working through ecological grief and charting a path forward. The first episode of season 2 (e19 reality) mixes quotations from 28 authors with field recordings from simplesoundscapes and from my 1998 soundscape composition, Au dernier vivant les biens. One of my findings from this episode is that ‘I now see, and more importantly, I now feel in my bones, ‘the state of things as they actually exist’, without social filters or unsustainable stories blocking the way’. e19 reality touches upon 7 topics: our perception of reality, the possibility of human extinction, ecological anxiety and ecological grief, hope, arts, storytelling and the wisdom of indigenous cultures. The rest of season 2 features interviews with thought leaders about their responses and reactions to e19 reality.

my professional services

I’ve been retired from the Canada Council for the Arts since September 15, 2020 where I served as a senior strategic advisor in arts granting (2016-2020) and manager of the Inter-Arts Office (1999-2015). My focus in (quasi) retirement is environmental issues within my area of expertise in arts and culture, in particular in acoustic ecology. I’m open to become involved in projects that align with my values and that move forward environmental concerns. Feel free to email me for a conversation : claude@conscient.ca

acknowledgement of eco-responsibility

I acknowledge that the production of the conscient podcast / balado conscient produces carbon. I try to minimize this carbon footprint by being as efficient as possible, including using GreenGeeks as my web server and acquiring carbon offsets for my equipment and travel activities from BullFrog Power and Less.

a word about privilege and bias

While recording episode 19 ‘reality’, I heard elements of ‘privilege’ in my voice that I had not noticed before. It sounded a bit like ‘ecological mansplaining’. I realize that, in spite of good intentions, I need to work my way through issues of privilege (of all kinds) and unconscious bias the way I did through ecological anxiety and grief during the fall of 2020. My re-education is ongoing.

Go to conscient.ca

Powered by WPeMatico

Conscient Podcast: e84 viviane gosselin + mauro vescera of the museum of vancouver

My conversation with Viviane Gosselin, Director of Collections & Exhibitions, Curator of Contemporary Culture and Mauro Vescera, Chief Executive Officer of the Museum of Vancouver (MOV) about greening their operations and addressing the climate emergency and issues of climate justice through exhibitions.  

I worked with Mauro in 2006 on the Art in Ecology – A Think Tank on Arts and Sustainability and was happy to reconnect and learn about his leadership of this institution. I met Viviane through SCALE, the Sectoral Climate Arts Leadership for the Emergency, notably on the Education working group and was impressed by her passion for the environment and institutional engagement on the climate emergency. 

This conversation was recorded in 3 spaces: office, collections and exhibitions. I learned about the MOV’s 4 engagement priorities (redress and decolonization, immigration and diversity, environment and sustainability and urban and contemporary issues) and how they are greening their operations and addressing climate change and climate justice through their exhibitions.  

Viviane also spoke about her work with the Coalition of Museums for Climate Justice

Mauro and Viviane in the MOV collection, November 15, 2021
Exhibition at MOV, November 15, 2021
Exhibition at MOV, November 15, 2021
Entrance of MOV, November 15, 2021

*

Ma conversation avec Viviane Gosselin, directrice des collections et des expositions et conservatrice de la culture contemporaine, et Mauro Vescera, directeur général duMuseum of Vancouver (MOV) au sujet de l'écologisation de leurs opérations et de la prise en compte de l'urgence climatique et des questions de justice climatique dans leurs expositions.   

J’ai travaillé avec Mauro en 2006 dans le cadre du projet “Art in Ecology – A Think Tank on Arts and Sustainability” et j’ai été heureuse de renouer le contact et d’en apprendre davantage sur la façon dont il dirige cette institution. J’ai rencontré Viviane par le biais de LeSAUT, le Leadership sectoriel des arts pour l’urgence de la transition écologique, notamment au sein du groupe de travail sur l’éducation et j’ai été impressionné par sa passion pour l’environnement et l’engagement institutionnel sur l’urgence climatique. 

Cette conversation a été enregistrée dans 3 espaces : bureau, collections et expositions. J’ai appris les 4 priorités d’engagement du MOV (réparation et décolonisation, immigration et diversité, environnement et durabilité et questions urbaines et contemporaines) et comment ils écologisent leurs opérations et abordent le changement climatique et la justice climatique à travers leurs expositions.  

Viviane a également parlé de son travail avec la Coalition of Museums for Climate Justice

The post e84 viviane gosselin + mauro vescera of the museum of vancouver appeared first on conscient podcast / balado conscient. conscient is a bilingual blog and podcast (French or English) by audio artist Claude Schryer that explores how arts and culture contribute to environmental awareness and action.

———-

About the Concient Podcast from Claude Schryer

The conscient podcast / balado conscient is a series of conversations about art, conscience and the ecological crisis. This podcast is bilingual (in either English or French). The language of the guest determines the language of the podcast. Episode notes are translated but not individual interviews.

I started the conscient project in 2020 as a personal learning journey and knowledge sharing exercise. It has been rewarding, and sometimes surprising.

The term ‘conscient’ is defined as ‘being aware of one’s surroundings, thoughts and motivations’. My touchstone for the podcast is episode 1, e01 terrified, based on an essay I wrote in May 2019, where I share my anxiety about the climate crisis and my belief that arts and culture can play a critical role in raising public awareness about environmental issues. The conscient podcast / balado conscient follows up on my http://simplesoundscapes.ca (2016–2019) project: 175, 3-minute audio and video field recordings that explore mindful listening.

Season 1 (May to October 2020) explored how the arts contribute to environmental awareness and action. I produced 3 episodes in French and 15 in English. The episodes cover a wide range of content, including activism, impact measurement, gaming, arts funding, cross-sectoral collaborations, social justice, artistic practices, etc. Episodes 8 to 17 were recorded while I was at the Creative Climate Leadership USA course in Arizona in March 2020 (led by Julie’s Bicycle). Episode 18 is a compilation of highlights from these conversations.

Season 2 (March 2021 – ) explores the concept of reality and is about accepting reality, working through ecological grief and charting a path forward. The first episode of season 2 (e19 reality) mixes quotations from 28 authors with field recordings from simplesoundscapes and from my 1998 soundscape composition, Au dernier vivant les biens. One of my findings from this episode is that ‘I now see, and more importantly, I now feel in my bones, ‘the state of things as they actually exist’, without social filters or unsustainable stories blocking the way’. e19 reality touches upon 7 topics: our perception of reality, the possibility of human extinction, ecological anxiety and ecological grief, hope, arts, storytelling and the wisdom of indigenous cultures. The rest of season 2 features interviews with thought leaders about their responses and reactions to e19 reality.

my professional services

I’ve been retired from the Canada Council for the Arts since September 15, 2020 where I served as a senior strategic advisor in arts granting (2016-2020) and manager of the Inter-Arts Office (1999-2015). My focus in (quasi) retirement is environmental issues within my area of expertise in arts and culture, in particular in acoustic ecology. I’m open to become involved in projects that align with my values and that move forward environmental concerns. Feel free to email me for a conversation : claude@conscient.ca

acknowledgement of eco-responsibility

I acknowledge that the production of the conscient podcast / balado conscient produces carbon. I try to minimize this carbon footprint by being as efficient as possible, including using GreenGeeks as my web server and acquiring carbon offsets for my equipment and travel activities from BullFrog Power and Less.

a word about privilege and bias

While recording episode 19 ‘reality’, I heard elements of ‘privilege’ in my voice that I had not noticed before. It sounded a bit like ‘ecological mansplaining’. I realize that, in spite of good intentions, I need to work my way through issues of privilege (of all kinds) and unconscious bias the way I did through ecological anxiety and grief during the fall of 2020. My re-education is ongoing.

Go to conscient.ca

Powered by WPeMatico

Conscient Podcast: e83 the greatest mass movement in history

e83 is my narration of a November 13th, 2021, tweet by British writer and climate activist George Monbiot about ‘raising the scale of civil disobedience until we have built the greatest mass movement in history’. I agree and thank George. 

This episode lasts 59 seconds. I want to share a November 13th, 2021, tweet by British writer and climate activist George Monbiot: 

‘Now we have no choice but to raise the scale of civil disobedience until we have built the greatest mass movement in history. We do not consent to the destruction of our life support systems’.

I agree with George and thank him. I find that his statement is both devastating and heartening. Here it is again: 

‘Now we have no choice but to raise the scale of civil disobedience until we have built the greatest mass movement in history. We do not consent to the destruction of our life support systems’.

Climate action rally in Vancouver, November 12, 2021 see https://www.conscient.ca/podcast/e82-washable-paint/)

*

e83 est ma narration d'un tweet le 13 novembre 2021 par l'écrivain et activiste climatique britannique George Monbiot, qui parle ‘d'augmenter l'échelle de la désobéissance civile jusqu'à ce que nous ayons construit le plus grand mouvement de masse de l'histoire’. Je suis d'accord et je remercie George.

Cet épisode dure 59 secondes. Je veux partager un tweet du 13 novembre 2021 de l’écrivain britannique et activiste climatique George Monbiot : 

‘Maintenant, nous n’avons pas d’autre choix que d’élever l’échelle de la désobéissance civile jusqu’à ce que nous ayons construit le plus grand mouvement de masse de l’histoire. Nous ne consentons pas à la destruction de nos systèmes de survie.’

Je suis d’accord avec George et je le remercie. Je trouve que sa déclaration est à la fois dévastatrice et réconfortante. Le voici à nouveau : 

‘Maintenant, nous n’avons pas d’autre choix que d’élever l’échelle de la désobéissance civile jusqu’à ce que nous ayons construit le plus grand mouvement de masse de l’histoire. Nous ne consentons pas à la destruction de nos systèmes de survie.’

The post e83 the greatest mass movement in history appeared first on conscient podcast / balado conscient. conscient is a bilingual blog and podcast (French or English) by audio artist Claude Schryer that explores how arts and culture contribute to environmental awareness and action.

———-

About the Concient Podcast from Claude Schryer

The conscient podcast / balado conscient is a series of conversations about art, conscience and the ecological crisis. This podcast is bilingual (in either English or French). The language of the guest determines the language of the podcast. Episode notes are translated but not individual interviews.

I started the conscient project in 2020 as a personal learning journey and knowledge sharing exercise. It has been rewarding, and sometimes surprising.

The term ‘conscient’ is defined as ‘being aware of one’s surroundings, thoughts and motivations’. My touchstone for the podcast is episode 1, e01 terrified, based on an essay I wrote in May 2019, where I share my anxiety about the climate crisis and my belief that arts and culture can play a critical role in raising public awareness about environmental issues. The conscient podcast / balado conscient follows up on my http://simplesoundscapes.ca (2016–2019) project: 175, 3-minute audio and video field recordings that explore mindful listening.

Season 1 (May to October 2020) explored how the arts contribute to environmental awareness and action. I produced 3 episodes in French and 15 in English. The episodes cover a wide range of content, including activism, impact measurement, gaming, arts funding, cross-sectoral collaborations, social justice, artistic practices, etc. Episodes 8 to 17 were recorded while I was at the Creative Climate Leadership USA course in Arizona in March 2020 (led by Julie’s Bicycle). Episode 18 is a compilation of highlights from these conversations.

Season 2 (March 2021 – ) explores the concept of reality and is about accepting reality, working through ecological grief and charting a path forward. The first episode of season 2 (e19 reality) mixes quotations from 28 authors with field recordings from simplesoundscapes and from my 1998 soundscape composition, Au dernier vivant les biens. One of my findings from this episode is that ‘I now see, and more importantly, I now feel in my bones, ‘the state of things as they actually exist’, without social filters or unsustainable stories blocking the way’. e19 reality touches upon 7 topics: our perception of reality, the possibility of human extinction, ecological anxiety and ecological grief, hope, arts, storytelling and the wisdom of indigenous cultures. The rest of season 2 features interviews with thought leaders about their responses and reactions to e19 reality.

my professional services

I’ve been retired from the Canada Council for the Arts since September 15, 2020 where I served as a senior strategic advisor in arts granting (2016-2020) and manager of the Inter-Arts Office (1999-2015). My focus in (quasi) retirement is environmental issues within my area of expertise in arts and culture, in particular in acoustic ecology. I’m open to become involved in projects that align with my values and that move forward environmental concerns. Feel free to email me for a conversation : claude@conscient.ca

acknowledgement of eco-responsibility

I acknowledge that the production of the conscient podcast / balado conscient produces carbon. I try to minimize this carbon footprint by being as efficient as possible, including using GreenGeeks as my web server and acquiring carbon offsets for my equipment and travel activities from BullFrog Power and Less.

a word about privilege and bias

While recording episode 19 ‘reality’, I heard elements of ‘privilege’ in my voice that I had not noticed before. It sounded a bit like ‘ecological mansplaining’. I realize that, in spite of good intentions, I need to work my way through issues of privilege (of all kinds) and unconscious bias the way I did through ecological anxiety and grief during the fall of 2020. My re-education is ongoing.

Go to conscient.ca

Powered by WPeMatico

Conscient Podcast: e82 washable paint

e82 is an unedited, 20-minute soundscape recording, without narration, of a climate emergency rally and march on Friday, November 12, 2021, in Vancouver and an incident with police. The recording includes songs, speeches and chants about climate action and social justice. 

My goal was to record the soundscape of a public protest : the singing, chanting, speeches, random chatter and marching as well as the ambiance of the city, however what I witnessed and heard at this event was the response of the protesters to Vancouver Police around the arrest of group of young people who were doing a ceremony with washable red paint onto the windows of the federal Ministry of the Environment and Climate Change building on Burrard street (see photos), at which point the protest leaders requested the release the arrested persons and decided to remain in solidarity with them instead of continuing with the march towards the banking sector of downtown Vancouver and CBC Vancouver. 

The recording starts with a song and an indigenous person explaining what the intention was were with the ceremony. You then hear a ‘let them go’ chant followed by the police taking the arrested persons away in a van and the protesters’ reaction (‘they only used washable paint’). The march was then redirected onto Cordova Street towards the courthouse where detained persons were likely being held. You hear the protesters doing climate emergency chants followed by a song at which point I stopped the recording because my hands were shaking with cold.

In the end, 3 persons were arrested for public mischief as noted in this CTV news video posting and online.

I thought about whether it was ethical for me to publish this recording, given the delicate nature of the event, keeping in mind what Dr. Milena Droumeva told to me in episode 78 (at 31 minutes 50 seconds):

‘I feel very torn about doing field recordings. I think there are ethics that we need to think about. I try to convey that so that it is not extractive’.

I decided this recording was worth sharing given that it was a public event and of public interest to listen to these voices. It captures a dilemma for our society of balancing the urgent need for peaceful climate emergency protests, indigenous rights and the rule of law.

I want to thank those who were inadvertently recorded and hope their messages about the urgency of the climate emergency and the principle of ‘leaving no one behind’ carry wide and far. 

Protesters at November 12, 2021 climate action rally in Vancouver
Speaker at November 12, 2021 climate action rally in Vancouver
Protest sign at November 12, 2021 climate action rally in Vancouver

*

e82 est un enregistrement sonore de 20 minutes, sans montage et sans narration, d'un rassemblement et d'une marche sur l'urgence climatique le vendredi 12 novembre 2021 à Vancouver et d'un incident avec la police. L'enregistrement comprend des chansons, des discours et des chants sur l'action climatique et la justice sociale.

Mon objectif était d’enregistrer le paysage sonore d’une manifestation publique : Cependant, ce que j’ai vu et entendu lors de cet événement, c’est la réponse des manifestants à la police de Vancouver concernant l’arrestation d’un groupe de jeunes gens qui faisaient une cérémonie avec de la peinture rouge lavable sur les fenêtres du bâtiment du ministère fédéral de l’Environnement et du Changement climatique sur la rue Burrard (voir photos), Les leaders de la manifestation ont alors demandé la libération des personnes arrêtées et ont décidé de rester en solidarité avec elles au lieu de poursuivre la marche vers le secteur bancaire du centre-ville de Vancouver et CBC Vancouver. 

L’enregistrement commence par une chanson et une personne indigène expliquant l’intention de la cérémonie. On entend ensuite un chant “laissez-les partir”, puis la police emmène les personnes arrêtées dans une camionnette et la réaction des manifestants (“ils n’ont utilisé que de la peinture lavable”). La marche a ensuite été redirigée sur Cordova Street, en direction du palais de justice, où des personnes détenues sont probablement retenues. Vous entendez les manifestants entonner des chants d’urgence climatique, suivis d’une chanson. À ce moment-là, j’ai arrêté l’enregistrement car mes mains tremblaient de froid.

En fin de compte, trois personnes ont été arrêtées pour méfait public, comme l’indique cette vidéo de CTV news et en ligne.

Je me suis demandé s’il était éthique pour moi de publier cet enregistrement, étant donné la nature délicate de l’événement, en gardant à l’esprit ce que le Dr Milena Droumeva m’a dit dans l’épisode 78 (à la 31e minute, 50 secondes) :

Je me sens très déchirée à l’idée de faire des enregistrements sur le terrain. Je pense qu’il y a une éthique à laquelle nous devons réfléchir. J’essaie de transmettre ces informations de manière à ce qu’elles ne soient pas extractives.

J’ai décidé que cet enregistrement valait la peine d’être partagé, étant donné qu’il s’agissait d’un événement public et qu’il était intéressant pour le public d’écouter ces voix. Il capture un dilemme pour notre société, celui de trouver un équilibre entre le besoin urgent de manifestations pacifiques d’urgence climatique, les droits des peuples autochtones et l’État de droit.

Je tiens à remercier les personnes qui ont été enregistrées par inadvertance et j’espère que leurs messages sur l’urgence de la situation climatique et le principe de “ne laisser personne derrière” seront largement diffusés. 

The post e82 washable paint appeared first on conscient podcast / balado conscient. conscient is a bilingual blog and podcast (French or English) by audio artist Claude Schryer that explores how arts and culture contribute to environmental awareness and action.

———-

About the Concient Podcast from Claude Schryer

The conscient podcast / balado conscient is a series of conversations about art, conscience and the ecological crisis. This podcast is bilingual (in either English or French). The language of the guest determines the language of the podcast. Episode notes are translated but not individual interviews.

I started the conscient project in 2020 as a personal learning journey and knowledge sharing exercise. It has been rewarding, and sometimes surprising.

The term ‘conscient’ is defined as ‘being aware of one’s surroundings, thoughts and motivations’. My touchstone for the podcast is episode 1, e01 terrified, based on an essay I wrote in May 2019, where I share my anxiety about the climate crisis and my belief that arts and culture can play a critical role in raising public awareness about environmental issues. The conscient podcast / balado conscient follows up on my http://simplesoundscapes.ca (2016–2019) project: 175, 3-minute audio and video field recordings that explore mindful listening.

Season 1 (May to October 2020) explored how the arts contribute to environmental awareness and action. I produced 3 episodes in French and 15 in English. The episodes cover a wide range of content, including activism, impact measurement, gaming, arts funding, cross-sectoral collaborations, social justice, artistic practices, etc. Episodes 8 to 17 were recorded while I was at the Creative Climate Leadership USA course in Arizona in March 2020 (led by Julie’s Bicycle). Episode 18 is a compilation of highlights from these conversations.

Season 2 (March 2021 – ) explores the concept of reality and is about accepting reality, working through ecological grief and charting a path forward. The first episode of season 2 (e19 reality) mixes quotations from 28 authors with field recordings from simplesoundscapes and from my 1998 soundscape composition, Au dernier vivant les biens. One of my findings from this episode is that ‘I now see, and more importantly, I now feel in my bones, ‘the state of things as they actually exist’, without social filters or unsustainable stories blocking the way’. e19 reality touches upon 7 topics: our perception of reality, the possibility of human extinction, ecological anxiety and ecological grief, hope, arts, storytelling and the wisdom of indigenous cultures. The rest of season 2 features interviews with thought leaders about their responses and reactions to e19 reality.

my professional services

I’ve been retired from the Canada Council for the Arts since September 15, 2020 where I served as a senior strategic advisor in arts granting (2016-2020) and manager of the Inter-Arts Office (1999-2015). My focus in (quasi) retirement is environmental issues within my area of expertise in arts and culture, in particular in acoustic ecology. I’m open to become involved in projects that align with my values and that move forward environmental concerns. Feel free to email me for a conversation : claude@conscient.ca

acknowledgement of eco-responsibility

I acknowledge that the production of the conscient podcast / balado conscient produces carbon. I try to minimize this carbon footprint by being as efficient as possible, including using GreenGeeks as my web server and acquiring carbon offsets for my equipment and travel activities from BullFrog Power and Less.

a word about privilege and bias

While recording episode 19 ‘reality’, I heard elements of ‘privilege’ in my voice that I had not noticed before. It sounded a bit like ‘ecological mansplaining’. I realize that, in spite of good intentions, I need to work my way through issues of privilege (of all kinds) and unconscious bias the way I did through ecological anxiety and grief during the fall of 2020. My re-education is ongoing.

Go to conscient.ca

Powered by WPeMatico

Conscient Podcast: e81 – inspiration

e81 inspiration are excerpts from all my #conscientpodcast conversations up to today, November 10th, 2021. I chose short excerpts where the tone and emotion in the voice of each person inspires and uplifts me every time I listen to it and I hope they will inspire and uplift you too (because we need it). Thanks to all those recorded for this fragmented reading of our conversations. 
é81 inspiration sont des extraits de toutes mes conversations #baladoconscient jusqu’à aujourd’hui le 10 novembre 2021. J’ai choisi des extraits où le ton et l'émotion dans la voix de la personne m'inspirent et m’encouragent profondément. J'espère qu'ils vous inspireront et vous encourageront aussi (parce que nous en avons besoin). Merci à toutes les personnes enregistrées pour cette lecture fragmentée de nos conversations. 

In order of appearance (bolded episodes are in French and have an ‘é’)

Note: I am aware that the time indication numbers below do not align up well but chose not to correct it as I enjoy the uneven flow… 

Note : Je suis conscient que les chiffres de l’indication de temps ci-dessous ne sont pas bien alignés mais j’ai choisi de ne pas les corriger car j’apprécie le flux irrégulier…

  • e10 mwase, Rebecca Mwase                                            00:00
  • e29 loy, David Loy                                                               00:21
  • e03 tickell, Alison Tickell                                                   00:35
  • é37 lebeau, Anne-Catherine Lebeau                          00:56
  • 12 liverman, Diana Liverman                                            01:16
  • 17 piro, Em Piro                                                                   01:37
  • e50 newton, Teika Newton                                               02:00
  • é32 tsou, Shuni Tsou                                                        02:26
  • 13 freiband, Andrew Freiband                                         02:46
  • e58 huddart, Stephen Huddart                                        03:03
  • é27 prévost, Hélène Prévost                                         03:30
  • e47 keeptwo, Suzanne Keeptwo                                      04:00
  • 08 johnston,  Sholeh Johnston                                         04:25
  • e33 toscano, Peterson Toscano                                       04:51
  • é60 boutet, Dr. Danielle Boutet                                   05 :20
  • e51 hiser, Dr. Krista Hiser                                                  05:42
  • e53 kalmanovitch, Dr. Tanya Kalmanovitch                   06:01
  • e21 dufresne, Dr. Todd Dufresne                                    06:22
  • é55 trépanier, France Trépanier                                  06:42
  • e24 weaving, jil p. weaving                                               07:00
  • e25 shaw, Michael Shaw                                                    07:38
  • e39 engle  Dr. Jayne Engle                                               08:01
  • é56 garoufalis-auger, Anthony Garoufalis-Auger 08 :19
  • e54 garrett, Ian Garrett                                                      08:46
  • 06 lim, Milton Lim                                                                09:48
  • e22 westerkamp, Hildegard Westerkamp                     09:25
  • é57 roy, Annie Roy                                                           09:50
  • e73 marcuse,,Judith Marcuse                                           10:19
  • e26 klein, Seth Klein                                                           10:58
  • e36 fanconi,  Kendra Fanconi                                           11 :26
  • é28 ung, Jimmy Ung                                                        11:47
  • e40 frasz  Alexis Frasz                                                         12:10
  • e41 rae, Jen Rae                                                                  12:27
  • e42 rosen, Mark Rosen                                                      12:52
  • é48 danis, Daniel Danis                                                  13:17
  • e43 haley, David Haley                                                      13:57
  • e44 bilodeau, Chantal Bilodeau                                      14:32
  • e45 abbott, Jennifer Abbott                                             15:13
  • é60 boutet, Dr. Danielle Boutet                                   16 :03
  • e49 windatt, Clayton Windatt                                           16:33
  • e50 newton, Teika Newton                                               16:53
  • e51 hiser, Dr. Krista Hiser                                                  17:30
  • 07 kasisi, Robert Kasisi                                                   17:52
  • e52 mahtani, Dr. Annie Mahtani                                      18 :23
  • e53 kalmanovitch, Dr. Tanya Kalmanovitch                   18:49
  • e68 davies, Andrew Davies                                               19:20
  • é34 ramade, Bénédicte Ramade                                  19:47
  •  e61sokoloski, Robin Sokoloski                                        20:12
  • e46 badham, Dr Marnie Badham                                    20:39
  • e43 haley, David Haley                                                      21:01
  • é55 trépanier, France Trépanier                                  21:16
  • e38 zenith, Shante’ Sojourn Zenith                                  21:37
  • e30 maggs, David Maggs                                                 22:22
  • e23 appadurai, Anjali Appadurai                                     22:56
  • é48 danis, Daniel Danis                                                  22:14
  • e21 dufresne, Dr. Todd Dufresne                                    24 :57
  • e35 salas, Carmen Salas                                                    25:46
  • e31 morrow, Charlie Morrow                                           26:27
  • é57 roy, Annie Roy                                                           26:53
  • e59 pearl,  Judi Pearl                                                          27:29
  • e71 green sessions debrief, Emma Stenning                27:49
  • e78 droumeva, Milena Droumeva                                   29:11
  • 04 fel, Loic Fel                                                                    29:54
  • 05 carruthers, Beth Carruthers                                         30:15
  • e77 klein, Seth Klein                                                           30:45
  • e15 chasansky, Matthew Chassansky                              31:15
  • é55 trépanier, France Trépanier                                  32:00
  • e71 green sessions debrief, Sandy Crawley                  32:22
  • e11 dunlap, Eliana Dunlap                                                33;11
  • e71 green sessions debrief, Liisa Repo-Martell            33:34
  • e63 a case study (part 1), Clara Schryer                       34:11
  • 09 macmahon, Ellen MacMahon                                     34:24              
  • e76 richards, Kim Richards                                                34:50
  • e16 delaparra, Lauren De la Parra                                   35:28 
  • é37 lebeau, Anne-Catherine Lebeau                          36:07
  • 14 kirn, Marda Kirn                                                             36:30
  • e63 a case study (part 1), Clara Schryer, Riel Schryer 37:38
  • e71 green sessions debrief, Robyn Stevan                    38:18
  •  e64 a case study (2), Clara Schyrer, Sabrina Mathews 38:50
The post e81 – inspiration appeared first on conscient podcast / balado conscient. conscient is a bilingual blog and podcast (French or English) by audio artist Claude Schryer that explores how arts and culture contribute to environmental awareness and action.

———-

About the Concient Podcast from Claude Schryer

The conscient podcast / balado conscient is a series of conversations about art, conscience and the ecological crisis. This podcast is bilingual (in either English or French). The language of the guest determines the language of the podcast. Episode notes are translated but not individual interviews.

I started the conscient project in 2020 as a personal learning journey and knowledge sharing exercise. It has been rewarding, and sometimes surprising.

The term ‘conscient’ is defined as ‘being aware of one’s surroundings, thoughts and motivations’. My touchstone for the podcast is episode 1, e01 terrified, based on an essay I wrote in May 2019, where I share my anxiety about the climate crisis and my belief that arts and culture can play a critical role in raising public awareness about environmental issues. The conscient podcast / balado conscient follows up on my http://simplesoundscapes.ca (2016–2019) project: 175, 3-minute audio and video field recordings that explore mindful listening.

Season 1 (May to October 2020) explored how the arts contribute to environmental awareness and action. I produced 3 episodes in French and 15 in English. The episodes cover a wide range of content, including activism, impact measurement, gaming, arts funding, cross-sectoral collaborations, social justice, artistic practices, etc. Episodes 8 to 17 were recorded while I was at the Creative Climate Leadership USA course in Arizona in March 2020 (led by Julie’s Bicycle). Episode 18 is a compilation of highlights from these conversations.

Season 2 (March 2021 – ) explores the concept of reality and is about accepting reality, working through ecological grief and charting a path forward. The first episode of season 2 (e19 reality) mixes quotations from 28 authors with field recordings from simplesoundscapes and from my 1998 soundscape composition, Au dernier vivant les biens. One of my findings from this episode is that ‘I now see, and more importantly, I now feel in my bones, ‘the state of things as they actually exist’, without social filters or unsustainable stories blocking the way’. e19 reality touches upon 7 topics: our perception of reality, the possibility of human extinction, ecological anxiety and ecological grief, hope, arts, storytelling and the wisdom of indigenous cultures. The rest of season 2 features interviews with thought leaders about their responses and reactions to e19 reality.

my professional services

I’ve been retired from the Canada Council for the Arts since September 15, 2020 where I served as a senior strategic advisor in arts granting (2016-2020) and manager of the Inter-Arts Office (1999-2015). My focus in (quasi) retirement is environmental issues within my area of expertise in arts and culture, in particular in acoustic ecology. I’m open to become involved in projects that align with my values and that move forward environmental concerns. Feel free to email me for a conversation : claude@conscient.ca

acknowledgement of eco-responsibility

I acknowledge that the production of the conscient podcast / balado conscient produces carbon. I try to minimize this carbon footprint by being as efficient as possible, including using GreenGeeks as my web server and acquiring carbon offsets for my equipment and travel activities from BullFrog Power and Less.

a word about privilege and bias

While recording episode 19 ‘reality’, I heard elements of ‘privilege’ in my voice that I had not noticed before. It sounded a bit like ‘ecological mansplaining’. I realize that, in spite of good intentions, I need to work my way through issues of privilege (of all kinds) and unconscious bias the way I did through ecological anxiety and grief during the fall of 2020. My re-education is ongoing.

Go to conscient.ca

Powered by WPeMatico

Conscient Podcast: é80 manifeste – accélérer l’action climatique grâce au pouvoir des arts, de la culture et du patrimoine

é80 est ma lecture #baladoconscient du manifeste 'Accélérer l'action climatique grâce au pouvoir des arts, de la culture et du patrimoine’ élaboré par le Climate Heritage Network pour résumer les messages culturels clés de la COP26 et activer le secteur des arts, de la culture et du patrimoine. Vous trouverez plus d'informations sur les origines et les co-auteurs du manifeste sur cultureatcop.com.

Note: la prestation lors de l’enregistrement a été improvisée à partir du scénario ci-dessous.

On est le 8 novembre 2021 et je suis sur une plage au Parc Stanley à Vancouver. Je vais vous lire dans quelques instants un manifeste et celui-ci est particulièrement bon et opportun. Je vous explique un peu comment ça s’est passé…. 

J’ai rencontré l’archéologue et le champion des musées  le Dr. Robert R. Janes,lors d’une rencontre du regroupement Leadership Sectoriel des Arts pour l’Urgence de la Transition écologique (LeSAUT)  alors que Bob parlait de son travail avec le Coalition of Museums for Climate Justice et nous nous parlons régulièrement. Il y a quelques jours Bob m’a envoyé un lien vers le manifeste Accélérer l’action climatique grâce au pouvoir des arts, de la culture et du patrimoine élaboré par le Climate Heritage Network. J’avoue que je ne connaissais pas ce manifeste et que c’est important qu’on en prenne note et qu’on écoute ce qu’ils ont à dire.

Personnellement j’ai été profondément ému par la clarté et la puissance de ces mots.

J’ai demandé, et obtenu des auteurs, la permission d’enregistrer le manifeste pour mon balado, en français avec cet épisode 80 and also an English version, episode 79). Une des raisons que je l’enregistre et je suis une personne, peut-être pas la seule, qui préfère écouter au lieu de lire et j’ai voulu faire une version audio afin de pouvoir l’écouter et je le partage avec vous, les auditeurs du balado et je voulais le faire pendant la COP26. C’est le 7 novembre 2021 et c’est donc le huitième jour de la COP26 donc c’est très à jour et j’espère que ça vous intéressera. L’enregistrement comprend la note d’introduction du manifeste, suivie du manifeste dans son intégralité. Je fais d’un coup, sans arrêt et son montage alors pardonnez-moi s’il y a des petits lapsus ici et là dans la lecture.

Vous pouvez trouver plus d’informations sur le manifeste et les co-auteurs sur le site web cultureatcop.com et vous trouverez les liens dont j’ai parlé dans les notes de l’émission.  Je tiens à remercier Bob et tous les co-auteurs du manifeste pour ce cadeau et ce réveil revigorant.

Alors, je commence avec l’introduction, voici. 

Ce Manifeste fournit des messages clés sur la culture et le changement climatique en vue de la Conférence des Nations Unies sur le climat de 2021 (COP26) et au-delà. Il vise à inciter les acteurs des arts, de la culture et du patrimoine à prendre des mesures en faveur du climat par le biais de la communication et de l’engagement, en inspirant et en aidant leurs électeurs, leurs membres et leurs publics à accroître leurs ambitions, à modifier leurs propres comportements et à s’engager dans l’élaboration de politiques en matière de changement climatique au niveau des gouvernements locaux et nationaux et au niveau intergouvernemental. Simultanément, afin de répondre à l’urgence de la situation climatique, ce Manifeste s’efforce d’inspirer et d’encourager une plus grande collaboration synergique sur l’action climatique avec d’autres secteurs et partenaires qui ne se sont pas traditionnellement engagés avec les acteurs culturels. Nous invitons la société civile, les gouvernements à tous les niveaux, les organisations de peuples autochtones, les organisations et institutions culturelles, les entreprises, les universités et les organismes de recherche et les autres parties prenantes à nous rejoindre en signant ce Manifeste, signalant ainsi notre ambition commune de créer des communautés justes, prospères et résilientes aujourd’hui et à l’avenir. 

Donc cela était l’introduction et maintenant je vais vous lire le manifeste au complet : 

Accélérer l’action climatique grâce au pouvoir des arts, de la culture et du patrimoine

Un manifeste pour ne pas perdre de vue l’objectif de 1,5°

COP26

Nous, les soussignés, déclarons que les peuples, leurs cultures et le patrimoine naturel et culturel de la Terre sont profondément menacés par le changement climatique causé par les êtres humains et par l’inaction climatique qui aggrave la crise climatique en cours, tout en réaffirmant l’immense pouvoir des arts, de la culture et du patrimoine pour inspirer l’action climatique et permettre une transition juste vers un avenir à faible émission de carbone et résilient face aux changements climatique. 

Le changement climatique a déjà un impact sur les individus et la planète, avec des effets durables et irréversibles. Pour éviter le pire, il faut limiter l’augmentation de la température mondiale à 1,5 degrés au-dessus des niveaux préindustriels. Or, le monde ne parvient même pas à atteindre l’objectif de 2 degrés fixé par l’Accord de Paris, les concentrations actuelles de gaz à effet de serre (GES) étant les plus élevées jamais enregistrées. 

La pandémie actuelle de COVID-19, et les souffrances qu’elle a causées, ont rendu la réponse au changement climatique encore plus difficile, tout en révélant des leçons essentielles, notamment l’impératif de tenir compte de la science, les conséquences de la séparation entre les êtres humains et la nature, l’importance de se concentrer sur les besoins des plus vulnérables, et le fait qu’un changement social et économique rapide et de grande envergure est possible lorsque les individus qui forment la société le souhaite et travaillent ensemble. 

Pour reconstruire en mieux, faire face aux crises du climat et de la biodiversité et parvenir à un développement durable, il faut prendre des mesures ambitieuses et transformatrices à grande échelle, notamment des réductions importantes des émissions de GES dans tous les secteurs, un large éventail d’options d’atténuation et d’adaptation et une augmentation significative des investissements dans ces options. L’équité et la justice doivent être au coeur de toutes les actions afin de pouvoir inverser les disparités croissantes en matière d’économie et de santé. La culture et les arts reflètent et influencent les modes de consommation, en reliant notre conscience de la nature et de la planète à notre relation à l’environnement. 

La culture permet d’ancrer les individus dans des lieux et entre eux. Elle peut créer une cohésion qui permet le développement de communautés et d’actions collectives. Les artistes et les voix du monde de la culture stimulent la sensibilisation et l’action du public ; leur travail peut être un outil puissant de mobilisation en faveur du climat. Grâce à l’accessibilité et à la confiance du public, les institutions culturelles telles que les musées et les bibliothèques constituent des plateformes d’écoute des communautés et des centres d’échanges multiculturels et intergénérationnels, de renforcement des capacités et de partage des connaissances. 

L’intégration des valeurs naturelles et culturelles met en évidence les liens entre les fonctions écologiques et sociales des paysages de manière à promouvoir des modes de vie en harmonie avec la nature. L’environnement historique incarne les investissements passés en matière de carbone, désormais gérés par les propriétaires et les utilisateurs des paysages et des bâtiments. Le patrimoine culturel contient les histoires des peuples et les connaissances des communautés locales (ce que l’Accord de Paris appelle les “technologies endogènes”). Les archives archéologiques illustrent les causes des changements passés et l’adaptation à ces changements. 

Pourtant, les talents de nombreux acteurs, opérateurs et défenseurs des arts, de la culture et du patrimoine n’ont toujours pas été mobilisés pour l’action climatique. Il s’agit d’artistes, d’anthropologues, d’archéologues, d’architectes, d’architectes paysagistes, d’administrateurs, d’archivistes, d’artisans, de conservateurs, d’ingénieurs, de géographes, d’historiens, de bibliothécaires, de musiciens, de muséologues, d’écrivains, d’artistes, d’urbanistes et de gestionnaires de sites, ainsi que de scientifiques, de chercheurs, d’enseignants, d’universitaires et de porteurs de savoirs autochtones, dont les connaissances uniques n’ont pas encore été appliquées de manière adéquate au changement climatique ou prises en compte dans la science du climat. 

Nous représentons des institutions et des organisations qui s’engagent à changer ce paradigme et à libérer le potentiel des arts, de la culture et du patrimoine pour réaliser les ambitions de l’Accord de Paris. Nous reconnaissons que cela doit inclure une transformation au sein du secteur culturel également, en adoptant des pratiques durables et une bonne gestion, en faisant entendre la voix des communautés défavorisées et en donnant la priorité à la solidarité avec les communautés en première ligne face au changement climatique, ainsi qu’en préservant, enregistrant et rendant la culture et le patrimoine disponibles de manière inclusive, y compris par le biais de formes artistiques traditionnelles et innovantes ainsi que de nouvelles technologies. 

Ce changement de paradigme et de mentalité exige également que les dimensions culturelles de l’action climatique soient prioritaires dans les cadres scientifiques, politiques, de planification et fiscaux pour l’atténuation et l’adaptation au climat, la réduction des risques de catastrophe et la planification des pertes et dommages. L’intégration des considérations culturelles doit se faire à toutes les échelles (locale, régionale, nationale et internationale) et dans tous les secteurs, de l’énergie aux bâtiments, de la mobilité à l’agriculture. 

Nous reconnaissons le lien profond entre les droits culturels, la survie de la culture et l’action climatique. Nous considérons également que ce Manifeste est une contribution aux approches centrées sur les êtres humains et fondées sur les droits, qui place la culture comme une dimension explicite et opérationnelle du développement et qui permet aux acteurs culturels (société civile et institutions) d’avoir voix au chapitre afin d’y parvenir. 

Il est temps d’agir. 

Nous devons combler les lacunes en matière d’émissions et d’ambition. Pour parvenir à un monde à 1,5° Celsius, il faut accorder plus d’attention aux dimensions culturelles des modes de vie et des moyens d’existence, à la compréhension publique des impacts climatiques, à l’acceptation sociale des changements de systèmes, aux approches diversifiées et sensibles au genre, et aux sources de l’ambition climatique. En bref, nous devons transcender les clivages entre la culture et la science, les personnes et les politiques, la mémoire et les pratiques évolutives. 

La COP26 doit être un tournant pour une action à plusieurs niveaux afin de réaliser le potentiel de la culture pour lutter efficacement contre la crise climatique. Il est de notre responsabilité commune de garantir l’héritage culturel et les droits culturels des générations actuelles et futures, de préserver une planète saine, prospère et résiliente, et d’assurer la réduction des émissions dont dépendent ces résultats. Dans tout ce travail, comptez sur nous ! Comptez sur la culture !

Moi sur une plage du parc Stanley, Vancouver, le 8 novembre 2021
The post é80 manifeste – accélérer l’action climatique grâce au pouvoir des arts, de la culture et du patrimoine appeared first on conscient podcast / balado conscient. conscient is a bilingual blog and podcast (French or English) by audio artist Claude Schryer that explores how arts and culture contribute to environmental awareness and action.

———-

About the Concient Podcast from Claude Schryer

The conscient podcast / balado conscient is a series of conversations about art, conscience and the ecological crisis. This podcast is bilingual (in either English or French). The language of the guest determines the language of the podcast. Episode notes are translated but not individual interviews.

I started the conscient project in 2020 as a personal learning journey and knowledge sharing exercise. It has been rewarding, and sometimes surprising.

The term ‘conscient’ is defined as ‘being aware of one’s surroundings, thoughts and motivations’. My touchstone for the podcast is episode 1, e01 terrified, based on an essay I wrote in May 2019, where I share my anxiety about the climate crisis and my belief that arts and culture can play a critical role in raising public awareness about environmental issues. The conscient podcast / balado conscient follows up on my http://simplesoundscapes.ca (2016–2019) project: 175, 3-minute audio and video field recordings that explore mindful listening.

Season 1 (May to October 2020) explored how the arts contribute to environmental awareness and action. I produced 3 episodes in French and 15 in English. The episodes cover a wide range of content, including activism, impact measurement, gaming, arts funding, cross-sectoral collaborations, social justice, artistic practices, etc. Episodes 8 to 17 were recorded while I was at the Creative Climate Leadership USA course in Arizona in March 2020 (led by Julie’s Bicycle). Episode 18 is a compilation of highlights from these conversations.

Season 2 (March 2021 – ) explores the concept of reality and is about accepting reality, working through ecological grief and charting a path forward. The first episode of season 2 (e19 reality) mixes quotations from 28 authors with field recordings from simplesoundscapes and from my 1998 soundscape composition, Au dernier vivant les biens. One of my findings from this episode is that ‘I now see, and more importantly, I now feel in my bones, ‘the state of things as they actually exist’, without social filters or unsustainable stories blocking the way’. e19 reality touches upon 7 topics: our perception of reality, the possibility of human extinction, ecological anxiety and ecological grief, hope, arts, storytelling and the wisdom of indigenous cultures. The rest of season 2 features interviews with thought leaders about their responses and reactions to e19 reality.

my professional services

I’ve been retired from the Canada Council for the Arts since September 15, 2020 where I served as a senior strategic advisor in arts granting (2016-2020) and manager of the Inter-Arts Office (1999-2015). My focus in (quasi) retirement is environmental issues within my area of expertise in arts and culture, in particular in acoustic ecology. I’m open to become involved in projects that align with my values and that move forward environmental concerns. Feel free to email me for a conversation : claude@conscient.ca

acknowledgement of eco-responsibility

I acknowledge that the production of the conscient podcast / balado conscient produces carbon. I try to minimize this carbon footprint by being as efficient as possible, including using GreenGeeks as my web server and acquiring carbon offsets for my equipment and travel activities from BullFrog Power and Less.

a word about privilege and bias

While recording episode 19 ‘reality’, I heard elements of ‘privilege’ in my voice that I had not noticed before. It sounded a bit like ‘ecological mansplaining’. I realize that, in spite of good intentions, I need to work my way through issues of privilege (of all kinds) and unconscious bias the way I did through ecological anxiety and grief during the fall of 2020. My re-education is ongoing.

Go to conscient.ca

Powered by WPeMatico