conscient podcast

I recorded myself counting down from 100 to 1 in the snow and played in backwards, hoping, against all odds, to turn back time

TRANSCRIPTION OF EPISODE

 

(bell and breath)

(Ambiance and footsteps in the snow played backwards)

On December 29, 2022, I recorded myself counting from 100 to 0 in crusty snow at our cottage. My goal was to explore what it felt like to cross over the tipping point into irreversible climate catastrophe. 

But, you know, to be fair, I like to just count my steps when I walk in the snow, so you can interpret it either way, either as a countdown to Armageddon or playing in the snow. Maybe a bit of both.

Anything this ambiguity around the severity of the ecological crisis is in my mind these days and something I listen for, and I’ve noticed during this season about ‘sounding modernity’, which is coming to an end soon, that most people suffer from eco anxiety and don’t know what to do about it. They feel disempowered. I do too and sad and yet life goes on. That kind of dilemma. 

I have a lot of empathy for all of us, for living beings as we try to work our way through this crisis. 

So, I think it’s helpful, though it might seem strange, to count from 100 to 0 but I suggest we do it backwards, just for fun. Here we go.

Can you turn back time? 

*

Recorded on December 29, 2022 at 1.19pm in Duhamel, Québec.

I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this episode. (including all the toxic materials and extractive processes behind the computers, recorders, transportation and infrastructure that make this podcast possible).

My gesture of reciprocity for this episode is to the alter-ciné foundation.

*

END NOTES FOR ALL EPISODES

Note : I'm currently 'pressing pause' and am not producing new content until further notice. 

Hey conscient listeners, 

I’ve been producing the conscient podcast as a learning and unlearning journey since May 2020. It’s my way to give back.

This Indigenous Land Acknowledgement statement was developed by members of the Algonquin community for my former employer the Canada Council for the Arts. I have adapted slightly to make it my own.

• I acknowledge that my studio, located in Ottawa, is on the unceded, unsurrendered Territory of the Anishinaabe Algonquin Nation whose presence here reaches back to time immemorial.
• I recognize the Algonquins as the customary keepers and defenders of the Ottawa River Watershed and its tributaries. I honour their long history of welcoming many Nations to this beautiful territory and uphold and uplift the voice and values of our Host Nation.
• Further, I offer my respect and affirm the inherent and Treaty Rights of all Indigenous Peoples across this land and honour commitments to self-determination and sovereignty that have been made to Indigenous Nations and Peoples.
• I acknowledge the historical oppression of lands, cultures and the original Peoples in what we now know as Canada and fervently believe the Arts contribute to the healing and decolonizing journey we all share together

In parallel with the production of the conscient podcast and its francophone counterpart, balado conscient, I I publish a free ‘a calm presence' monthly Substack see https://acalmpresence.substack.com.  

Your feedback is always welcome at claude [at] conscient [dot] ca and/or on social media: Facebook, Instagram, Linkedin, Threads, BlueSky, Mastodon, Tik Tok, YouTube and Substack.

Share what you like, etc

I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. 

Thanks for listening. 

Claude Schryer

Latest update on March 21, 2026

when I got up on September 25th 2023, while searching for my glasses in the dark, I touched a little mechanical bear

TRANSCRIPTION OF EPISODE

(bell and breath)

Vancouver, September 25, 2023. 

You can hear the city in the background as I record this. 

When I got up this morning, searching for my glasses, I touched this little mechanical bear…

(Cranking up and unwinding of windup toy)

It startled me a bit but it was also enchanting and surprising in a good way. I enjoyed listening to it come to a halt.

That morning I was thinking about something  I published on my website on September 20th. I’ll read it to you.

On September 20 2023, I decided to step back from being ‘me’, in the sense of letting go of old habits and patterns and adopting other new ways of being and living. This being said, I will continue to respond to invitations when my presence is useful. 

What do you think about that, little bear? 

(Winding up and release of wind up toy)

Now this statement reminded me of traps of how I fall into tarps all the time and maybe you do too?

Episode 111 of this season presented two traps and I'll play back excerpts from that episode to you now. The first trap is essentially wanting the world to stop and get off. Stop the world I want to get off.

Observer: I notice that you’ve fallen into a trap called ‘exit fixation’ which is where people feel a strong urge to walk out on an existing commitment. For example, when someone realises that the path they are on is full of paradoxes, contradictions, and complicities. Often their first response is to find an immediate exit in hopes of a more fulfilling and/or more innocent alternative or maybe even  an ideal community with whom to continue this work. 

Me: Like an escape?

Observer: Ya, something like that

The second trap is about wanting to erase the past and to find some kind of spiritual haven, which, of course, is an illusion : 

Observer:. It’s called spiritual bypassing and it happens when spiritual ideas or practices are used to sidestep, avoid, or escape sitting with analyses of historical and systemic violence and the difficulties of one’s complicity in historic and systemic harm. Do you know what I mean? 

Me: Yes I think I do but I don’t think I do this.

Observer: (interrupting) maybe not consciously but spiritual bypassing often manifests itself alongside with cultural appropriation which is something you think about every time you record a soundscape with that microphone of yours, right?  

Me: I see what you mean. You’re quite a good observer. 

Observer:  thank you but right back at you. Think of me as a guardian angel.

Me: Or the devil… 

Observer: Whatever (laughter) Now one of the dangers with spiritual bypassing is to project interpretations of ‘oneness’ that erase the realities of historical and systemic inequalities, and interpretations of ‘Enlightenment’ that tend to reinforce exceptionalism and you tend to do that…

Me: Yes, sure, I do, but it’s all part of being an artist.. 

Observer: (interrupting) True but that does not necessarily make it right, does it? Something to think about...

Me: (interrupting) That’s a lot to think about, to learn and unlearn.

What do you think of that, little bear?

(Winding up and release of wind up toy)

Do you think it’s ok to lose one’s mind in a mad world?

Do you think it’s ok to embrace failure as a path towards learning and unlearning?

What do you think about grieving our dying planet and sitting with this sadness?

(Winding up and release of wind up toy)

*

Written spontaneously on September 25th 2023 in Vancouver, this episode brought me comfort. Maybe it will bring you comfort as well?

I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this episode. (including all the toxic materials and extractive processes behind the computers, recorders, transportation and infrastructure that make this podcast possible).

My gesture of reciprocity for this episode is to the reseed podcast.

*

END NOTES FOR ALL EPISODES

Note : I'm currently 'pressing pause' and am not producing new content until further notice. 

Hey conscient listeners, 

I’ve been producing the conscient podcast as a learning and unlearning journey since May 2020. It’s my way to give back.

This Indigenous Land Acknowledgement statement was developed by members of the Algonquin community for my former employer the Canada Council for the Arts. I have adapted slightly to make it my own.

• I acknowledge that my studio, located in Ottawa, is on the unceded, unsurrendered Territory of the Anishinaabe Algonquin Nation whose presence here reaches back to time immemorial.
• I recognize the Algonquins as the customary keepers and defenders of the Ottawa River Watershed and its tributaries. I honour their long history of welcoming many Nations to this beautiful territory and uphold and uplift the voice and values of our Host Nation.
• Further, I offer my respect and affirm the inherent and Treaty Rights of all Indigenous Peoples across this land and honour commitments to self-determination and sovereignty that have been made to Indigenous Nations and Peoples.
• I acknowledge the historical oppression of lands, cultures and the original Peoples in what we now know as Canada and fervently believe the Arts contribute to the healing and decolonizing journey we all share together

In parallel with the production of the conscient podcast and its francophone counterpart, balado conscient, I I publish a free ‘a calm presence' monthly Substack see https://acalmpresence.substack.com.  

Your feedback is always welcome at claude [at] conscient [dot] ca and/or on social media: Facebook, Instagram, Linkedin, Threads, BlueSky, Mastodon, Tik Tok, YouTube and Substack.

Share what you like, etc

I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. 

Thanks for listening. 

Claude Schryer

Latest update on March 21, 2026

while drifting on a river in a kayak i listened

TRANSCRIPTION OF EPISODE

(bell and breath)

(kayak drifting on a river)

*

CREDITS
 

One of my ‘happy places’ in life is drifting down a river on a kayak. It’s an opportunity to slow down and regenerate with earthly elements. To let go and be carried away. This recording was made on July 13, 2023 on the Preston River in Duhamel, Québec.

This episode was created while I was in residence during the summer of 2023 at the Centre de production DAÏMÔNin Gatineau Québec as part of the fourth edition of Radio-Hull 28 days of programming from September 7 to October 4 2023 showcasing local artistic practices. 

With thanks to the Centre de production DAÏMÔN production team: Manon, Coco, Philippe and Simon and DAÏMÔN’s funders and partners. 

I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this episode. (including all the toxic materials and extractive processes behind the computers, recorders, transportation and infrastructure that make this podcast possible).

My gesture of reciprocity for this episode is to canadaland.

*

END NOTES FOR ALL EPISODES

Note : I'm currently 'pressing pause' and am not producing new content until further notice. 

Hey conscient listeners, 

I’ve been producing the conscient podcast as a learning and unlearning journey since May 2020. It’s my way to give back.

This Indigenous Land Acknowledgement statement was developed by members of the Algonquin community for my former employer the Canada Council for the Arts. I have adapted slightly to make it my own.

• I acknowledge that my studio, located in Ottawa, is on the unceded, unsurrendered Territory of the Anishinaabe Algonquin Nation whose presence here reaches back to time immemorial.
• I recognize the Algonquins as the customary keepers and defenders of the Ottawa River Watershed and its tributaries. I honour their long history of welcoming many Nations to this beautiful territory and uphold and uplift the voice and values of our Host Nation.
• Further, I offer my respect and affirm the inherent and Treaty Rights of all Indigenous Peoples across this land and honour commitments to self-determination and sovereignty that have been made to Indigenous Nations and Peoples.
• I acknowledge the historical oppression of lands, cultures and the original Peoples in what we now know as Canada and fervently believe the Arts contribute to the healing and decolonizing journey we all share together

In parallel with the production of the conscient podcast and its francophone counterpart, balado conscient, I I publish a free ‘a calm presence' monthly Substack see https://acalmpresence.substack.com.  

Your feedback is always welcome at claude [at] conscient [dot] ca and/or on social media: Facebook, Instagram, Linkedin, Threads, BlueSky, Mastodon, Tik Tok, YouTube and Substack.

Share what you like, etc

I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. 

Thanks for listening. 

Claude Schryer

Latest update on March 21, 2026

I felt defeated by the ecological crisis, and by myself, so I created an episode about defeatism hoping to defeat my defeatism

TRANSCRIPTION OF EPISODE

(bell and voice)

Note: [ ] = filtered voice

I got up this morning feeling defeated. 

[ I got up this morning feeling…]

You might know this feeling of … powerlessness. 

[This feeling of…]

You know, producing more podcast episodes, like this one, exploring art and the ecological crisis. It does seem rather… pointless.

[Producing more podcasts… ]

I sometimes feel like the best thing I can do for our troubled world is to be quiet and do no harm.… 

[To be quiet and do no harm]

Rebecca Solnit, We can’t afford to be climate doomers (female voice) :

Some days I think that if we lose the climate battle, it’ll be due in no small part to this defeatism among the comfortable in the global north, while people in frontline communities continue to fight like hell for survival. Which is why fighting defeatism is also climate work.

[Which is why]

Am I one of those comfortable people in the global north struggling with defeatism? 

[am I a… defeatist? ]

Yes. I am. I produce this weekly podcast in safe, luxurious conditions while the majority world fights like hell for survival. While the majority world suffers like hell the consequences of my generation’s excess. 

[the majority world fights like hell …]

I’m a hypocrite. I’m complicit. My work is pretentious and …

[I’m a defeatist]

So, what does defeatism sound like anyway?

Well, it probably sounds like this. A privileged male voice talking about his feelings about defeatism.

[ what does defeatist sound like? ]

Britt Wray, Generation Dread (female voice)

Some people believe that it is already too late to prevent societal collapse. They speak about the “earth as hospice,” and suggest we use what time we have left to summon the courage to face the music, as the ship we’re all on sinks.’ …

[facing the music, as the ship we’re all on…]

In my August conscient blog I wrote that : 

I see no point shuffling the deck chairs. We have already hit the metaphoric iceberg and the good ship modernity is sinking. 

So, where do we go from here?  

How does one defeat defeatism? 

[where do we go from here? ]

In the Peter Wall Institute for Advanced Studies Moving with Storms report I was reminded of the seven steps forward and-or aside, in particular this teaching about honesty and courage to see what you don’t want to see:

Commit to expanding your capacity to sit with what is real, difficult, and painful, within and around you. In what ways are your projections, idealizations, expectations, hopes, fears, and fragilities preventing you from approaching aspects of the Climate and Nature Emergency that are unpleasant for you and/or that challenge your sense of reality and/or self-image? What are you not willing or ready to see and how does this unwillingness impair your ability to respond to the Climate and Nature Emergency ?

[ What are you not ready to see? ]

*

Warm thanks to Kelly Langgard for lending me her voice to read the Rebecca Solnit and Britt Wray quotes (Kelly’s voice is also featured in e142 consent). Thanks to Rebecca and Britt for use of their words and to the Gesturing Towards Decolonial Futures collective for use of an excerpt from the Moving with Storms report. 

This episode was created while I was in residence during the summer of 2023 at the Centre de production DAÏMÔN in Gatineau Québec as part of the fourth edition of Radio-Hull.

With thanks to the Centre de production DAÏMÔN production team: Manon, Coco, Philippe and Simon and DAÏMÔN’s funders and partners. 

I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this episode. (including all the toxic materials and extractive processes behind the computers, recorders, transportation and infrastructure that make this podcast possible).

My gesture of reciprocity for this episode is to Post Carbon Institute.

*

END NOTES FOR ALL EPISODES

Note : I'm currently 'pressing pause' and am not producing new content until further notice. 

Hey conscient listeners, 

I’ve been producing the conscient podcast as a learning and unlearning journey since May 2020. It’s my way to give back.

This Indigenous Land Acknowledgement statement was developed by members of the Algonquin community for my former employer the Canada Council for the Arts. I have adapted slightly to make it my own.

• I acknowledge that my studio, located in Ottawa, is on the unceded, unsurrendered Territory of the Anishinaabe Algonquin Nation whose presence here reaches back to time immemorial.
• I recognize the Algonquins as the customary keepers and defenders of the Ottawa River Watershed and its tributaries. I honour their long history of welcoming many Nations to this beautiful territory and uphold and uplift the voice and values of our Host Nation.
• Further, I offer my respect and affirm the inherent and Treaty Rights of all Indigenous Peoples across this land and honour commitments to self-determination and sovereignty that have been made to Indigenous Nations and Peoples.
• I acknowledge the historical oppression of lands, cultures and the original Peoples in what we now know as Canada and fervently believe the Arts contribute to the healing and decolonizing journey we all share together

In parallel with the production of the conscient podcast and its francophone counterpart, balado conscient, I I publish a free ‘a calm presence' monthly Substack see https://acalmpresence.substack.com.  

Your feedback is always welcome at claude [at] conscient [dot] ca and/or on social media: Facebook, Instagram, Linkedin, Threads, BlueSky, Mastodon, Tik Tok, YouTube and Substack.

Share what you like, etc

I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. 

Thanks for listening. 

Claude Schryer

Latest update on March 21, 2026

i asked a forest for permission to record it and got a response from a tree

TRANSCRIPTION OF EPISODE

(bell and breath) 

(Wind in forest soundscape)

Today's episode is a fictional conversation between a tree and myself. It came to me while I was doing a consent and reciprocity exercise in a forest… like this one.

(Recited slowly and thoughtfully) 

Me (M): Forest, are you ok if I record  you today for my podcast?

Female voice (F): It’s nice of you to ask. 

(silence)

F: What’s a podcast? 

M: Ah, well, they're stories told through recorded sound that humans listen to. 

F Hum. We communicate through our mycorrhizal networks and symbiotic relationships with other living beings. For example, we regularly exchange nutrients through fungal mycelium. What kind of story do you want to tell your community? 

M: I’m preparing an episode about listening to life in a forest - in this forest - and I wanted to ask for your consent before recording these sounds and sharing them. 

F: ok. Everyone is welcome to visit our home, as long as they are respectful and do no harm.

M: Thank you. I would also like to make a gesture of reciprocity to the forest, like an offering of food or maybe a song.

(Silence)

F: or maybe leaving us alone? But good food and song are always welcome.

f: Where did you learn about consent and reciprocity?

M I learned it from a course I took at UBC called facing human wrongs. One of the exercises during this course was to make contact with the land before entering and asking for safe passage…

F: What do you mean by safe passage? Safe passage for whom? 

M: Right. Let me explain. We learned that there are some human communities who still understand that there is no dualistic distinction between objects and subjects, or humans and nature. 

The rivers, the mountains, the trees, the other animals and, you know, the forests themselves are experienced as conscious entities who were much older relatives and who, like human beings, required engagements based on trust, respect, consent, reciprocity and accountability.

F: I can relate to that: trust, respect, consent, reciprocity and accountability. These are part of some of our system of values of forests but there is so many humans don’t know about trees and forests, our culture and our relations.

M: We also learned that asking permission and making an offering of reciprocity was a way of entering into a relational experience between living beings, as opposed to, say, consuming an object, owning a property or enjoying a benefit. 

F: and… how can I say this… how do you think that you can enter into a relational experience with a forest simply by asking permission?

(silence) 

M: Well, to be honest, I don’t know.

F I agree, human, that you don’t know, at least, you don’t know yet, but maybe you will one day?

F: Do keep listening and thanks for the visit. 

*

CREDITS

This is my second attempt at a two person play (the other is e111 traps). With thanks to Kelly Langgard for playing the role of tree and helping me give it shape. Thanks also for editing advice from Sabrina Mathews, Azul Carolina Duque and Flora Aldridge.

This episode was created while I was in residence during the summer of 2023 at the Centre de production DAÏMÔN in Gatineau Québec as part of the fourth edition of Radio-Hull 28 days of programming from September 7 to October 4 2023 showcasing local artistic practices. 

With thanks to the Centre de production DAÏMÔN production team: Manon, Coco, Philippe and Simon and DAÏMÔN’s funders and partners. 

I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this episode. (including all the toxic materials and extractive processes behind the computers, recorders, transportation and infrastructure that make this podcast possible).

My gesture of reciprocity for this episode is to Toronto Arts Foundation. 

*

END NOTES FOR ALL EPISODES

Note : I'm currently 'pressing pause' and am not producing new content until further notice. 

Hey conscient listeners, 

I’ve been producing the conscient podcast as a learning and unlearning journey since May 2020. It’s my way to give back.

This Indigenous Land Acknowledgement statement was developed by members of the Algonquin community for my former employer the Canada Council for the Arts. I have adapted slightly to make it my own.

• I acknowledge that my studio, located in Ottawa, is on the unceded, unsurrendered Territory of the Anishinaabe Algonquin Nation whose presence here reaches back to time immemorial.
• I recognize the Algonquins as the customary keepers and defenders of the Ottawa River Watershed and its tributaries. I honour their long history of welcoming many Nations to this beautiful territory and uphold and uplift the voice and values of our Host Nation.
• Further, I offer my respect and affirm the inherent and Treaty Rights of all Indigenous Peoples across this land and honour commitments to self-determination and sovereignty that have been made to Indigenous Nations and Peoples.
• I acknowledge the historical oppression of lands, cultures and the original Peoples in what we now know as Canada and fervently believe the Arts contribute to the healing and decolonizing journey we all share together

In parallel with the production of the conscient podcast and its francophone counterpart, balado conscient, I I publish a free ‘a calm presence' monthly Substack see https://acalmpresence.substack.com.  

Your feedback is always welcome at claude [at] conscient [dot] ca and/or on social media: Facebook, Instagram, Linkedin, Threads, BlueSky, Mastodon, Tik Tok, YouTube and Substack.

Share what you like, etc

I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. 

Thanks for listening. 

Claude Schryer

Latest update on March 21, 2026

This episode is a recording of a presentation I gave on October 6, 2023 about my ‘Sounding Modernity’ project to the XI International Symposium on Soundscape, organized by the FKL-Forum Klanglandschaft in Lugano, Switzerland. See TRANSCRIPT  (with a laptop or desktop only) to read what was said.

*

END NOTES FOR ALL EPISODES

Note : I'm currently 'pressing pause' and am not producing new content until further notice. 

Hey conscient listeners, 

I’ve been producing the conscient podcast as a learning and unlearning journey since May 2020. It’s my way to give back.

This Indigenous Land Acknowledgement statement was developed by members of the Algonquin community for my former employer the Canada Council for the Arts. I have adapted slightly to make it my own.

• I acknowledge that my studio, located in Ottawa, is on the unceded, unsurrendered Territory of the Anishinaabe Algonquin Nation whose presence here reaches back to time immemorial.
• I recognize the Algonquins as the customary keepers and defenders of the Ottawa River Watershed and its tributaries. I honour their long history of welcoming many Nations to this beautiful territory and uphold and uplift the voice and values of our Host Nation.
• Further, I offer my respect and affirm the inherent and Treaty Rights of all Indigenous Peoples across this land and honour commitments to self-determination and sovereignty that have been made to Indigenous Nations and Peoples.
• I acknowledge the historical oppression of lands, cultures and the original Peoples in what we now know as Canada and fervently believe the Arts contribute to the healing and decolonizing journey we all share together

In parallel with the production of the conscient podcast and its francophone counterpart, balado conscient, I I publish a free ‘a calm presence' monthly Substack see https://acalmpresence.substack.com.  

Your feedback is always welcome at claude [at] conscient [dot] ca and/or on social media: Facebook, Instagram, Linkedin, Threads, BlueSky, Mastodon, Tik Tok, YouTube and Substack.

Share what you like, etc

I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. 

Thanks for listening. 

Claude Schryer

Latest update on March 21, 2026

a bilingual soundwalk with city of Gatineau councillor (Hull-Wright) Steven Moran around ‘la filature’ for radio-hull 2023

TRANSCRIPT OF EPISODE (this episode is a mix of English and French, below is the complete English version)

(bell and breath)

Claude (C ): Steven Morin, I invite you to take a sound walk with me. 

Steve (S): Excellent. Shall we? 

C: So you're a local councillor here? 

S: Yes. From Hull-Wright.

C: Me, I'm an artist in residence here at DAIMON then I create works for the radio-hull 2023. Then I decided to take a walk with a friend, you, in French and English. The idea of a sound walk is to pay attention to all the details. For example, our feet are making a rather soft sound at the moment. It just rained here in Gatineau. You can feel all the details of life through sound.

Claude: And it's going to be a bilingual conversation because Gatineau is multilingual and I'm bilingual. In fact, my family, my grandfather lived in Hull at the time. So there are lots of stories that we can tell. 

C: I'd start with what you're hearing right now, Steven. 

S: I can hear the leaves in the poplar over there. You hear construction because you always hear construction in the city center. I hear birds. I think it was a chickadee. I hear the wind. I hear the wind by itself, I think. I hear the wind in the leaves. I hear the highway and then Montcalm. Someone with a chainsaw, it sounds like. 

C: So that's the idea. But what's interesting about the sound walk is that you can also interact with the soundscape. So you listen to it, you perceive it, you're sensitive to... for example, the car that's just gone by. You can perceive all sorts of things with sound. For example, there are bustards ahead. We'll see if they make a sound. We're so used to seeing that our sense of hearing is sometimes a little less developed, so a sound walk is a way of sharpening our... 

S: With geese, you can hear them in the sky, but you don't think about them as much when they're on the ground. 

C: For example, the building here is interesting. The spinning mill was an old factory, the Hanson I forget the name of.

S: Hanson Mills. Socks, among other things? Yes, among other things. 

C: Then it was converted into an artist center in the '80s and now it's AxeNéo7 and Daimon. I find it interesting that there's a cultural center in a former industrial site, that it's a way of giving new life to the building and the neighborhood.  

(soundscape of children playing)

S: Ruisseau de la Brasserie was really the center of a whole industrial environment. It was the beating heart of Gatineau industry. The axes were made right there. The distillery was right there and a lot of things happened on the creek. So, when we think of industry and culture, when we talk about places, obviously it's often post-industrial spaces that aren't necessarily suitable for housing, so we use them to make cultural spaces. The spinning mill was a perfect example. 

(urban soundscape)

S: But it's clear that in this place, if there was an era. I try to imagine it, and then I hear it in my head: the hammers, the big machines, the saws, and so on. That's not the case anymore. I mean, there's no heavy industry of that kind here. The sounds would be completely different. It's fascinating to imagine what it would have been like back then. Also, you have to remember, just before World War II, there was a big homelessness crisis of what we called the homeless at the time, who were here, who were centered on the West Side. So there would even have been camps. Are those industrial sounds? But it would have been families left in poverty, in this industrial system that left them behind. It would also have been a family place. But not in the same way as now. 

(soundscape of children playing)

C: When I came here earlier, there were a lot of children playing with their bikes. I did some sound recording, and for me it's also a discovery, because I don't know Gatineau very well. I'm an artist from Ottawa who comes here to listen... and to take part in Radio-Hull. And I find it really interesting to get caught up in Gatineau's atmosphere, culture and spaces.

(sound of foot on the road)

C: But speaking of sound, that's a nice one. Yeah. Tell me what just happened here.

Steven: Cars going through puddles, everybody knows that sound.  So typical of after the rain. Yeah. Yeah. But also, I mean, it's asphalt. It wouldn't be the same if this were, you know, mud. It wouldn't be the same if this were grass. A car going through puddles definitely has to do with asphalt. And we forget to think… I always think it's interesting to keep in mind what was here before we built cities and what were the sounds that were possible then it's I mean, I don't think about just sounds, I think about all the spaces, the trees. Of course the sounds come with that. How would this place have been different? It would've been totally forested. So you would've had a different perspective on everything. It would've sounded very different. The sounds of a forest, you know, it would've almost certainly been a maple forest. So what were the sounds of that, right?

C: Well, right now we're above what kind of tree this is, but it's not the poplars from earlier. It's a more gentle leaf.

S: This is a Manitoba maple. A really big one, surprisingly.

C: Now on my way here this morning, I was playing with this sound.

(sound of gate)

S: Another sound everybody knows.

C: But this, this is so rich. And it's a gate. And we're gonna go through this gate and back to la filature…

S: This makes me think it's school: The sound of school. Absolutely. I mean, 'cause I never worked in a factory, but I think people worked in factories, that's the sound of the factory closing all those probably more of a sound of beep as you slide it rather than closing like that. But that for me is the sound of school. Every school has a fence like this. Right. The click click and the,

C: Is it cool in a good way or a bad way or just whatever, right?

S: I love school, I'm a parent, but I love school. When as a kid maybe I would've had a different idea of it.

C: You see as an artist, to me, this is a very interesting sound that I would play with, right? I would say, okay, this is a barrier. So what is the notion of what is, who's being left out? What, what, what's being protected? The sort of conceptual side, but then just the sound itself and it's, it's the richness of, of the shaking and, uh, sort of, it's really interesting artistic material.

S: And funny, this is obviously metal, but I don't think you can hear the metal. Yeah, you can hear the metal in the after shake, but during the, this sound isn't necessarily clearly metallic. 

C: Alright, Steven, let's continue. What I'm going to do with this sound walk, this is a special way of doing the sound walk, is I'm going to insert sounds and do a little bit of composition with it so that your, interventions will bewith closeups of the sounds, which is a, a fun way to play with the notion of a space because that's what artists do is, is interpret and be playful with aesthetic experiences so that audiences can have different sensations and different ways of, in this case, listening to…

(sound of a cart passing by)

C: What do you hear? 

S: I hear a plane

C: So it's going to pass over us. stereophony to pick it up. 

S: It's obviously something specific. In this part of Hall, there's a certain height that planes are at because they're landing or departing from the Ottawa airport. That's one thing we hear. The other thing we hear is 'biplanes', often small fun planes, coming out of the Gatineau airport. They're lower, but a different sound comes with them. But it's still a very specific pitch.

C: Interesting. You're good. You pay attention to the details, because it makes a difference to know where a sound comes from, at what height is it clearer if there are clouds or not? It's all really important and interesting details, I think. So I promised at the start of our walk that I'd tell you a little story. My father, Maurice, who has sadly passed away... His father's name was Maurice and I remember we used to come here to Hull on Roy Avenue, which isn't far from here. I have a childhood memory of a fire, a wood-burning stove, because in those days, most people heated their homes by wood-burning stoves. Good morning, sir. 

S: Can I hear the fridge? Very typical of a convenience store. 

C: Is it? How's that? 

S: Listen? Do you know that sound? Are you in a convenience store, sir? 

C: Can we come in? Okay, this fridge here. Wow. Hi, I'm just taking a sound clip for a sound walk. 

S: He's just taking a sound clip. OK?

C: Want to record the fridge. 

Convenience store owner: Go ahead.

C: Cheers. Tell me more Steven. 

S: You hear the fan that is very typical of the fridge. Low ceilings. The small areas, it's very typical. I love depanneur. It's something that we take for granted. 

Owner: For Youtube? 

C: It's for a radio station

Owner: Ah, radio station 106.5 ok cool. Thank you.

C: You're welcome...  

S:I think we need to think about the role of the convenience store as a community center. Convenience stores are an endangered species. I used to live in Montreal, but that's the case in Hull too. Convenience stores have played and will continue to play a central role. It's what they call the third place, where people gather because there's something to do, they talk to each other, they recognize each other, they see each other. These are becoming very important community places, especially with the shrinking of public space and state-owned spaces. These third-place spaces are super important. I think we need to think hard about the role of convenience stores. 

C: And the sound of convenience stores. 

S: That's part of it. You know, the smell you get in there. The vision, it's an addiction. It's a convenience store. Everybody knows it. When you walk in, but a very typical sound. You know, the ‘sloche’ machine has its noise. It's a refrigerator, it makes a noise. There's always the crooked lights that make noise. All the cash coming through the counter, it makes a noise. A sound. 

C: Steven, it's fascinating. I'm so glad we were able to discover this. There's another sound phenomenon that happens here, and that's dogs. 

S: Hello, hello. Hello. 

C: The little dogs make a particularly high-pitched sound and when there are three of them like that together. I call it an interesting sonic presence. 

S: I'd say so. You can also hear the noise of the machines, the buildings around. I don't know if I can hear them, I don't think it's air conditioners or heating, but you can hear this background noise that's really 'white noise'. I think we still need to think about sound and noise pollution, because we're in a poor neighborhood next door. The sounds would be very different. In my opinion, there's always something to be said for that. When you think about the city, you always have to think about that. 

(cricket sound)

 C: Well, we'll be back. We've done a bit of a tour of the building. The spinning mill, which is spinning, I think it has to do with thread and mending and all that. We're going to go into the building for a moment, and then we'll finish with a sound sculpture that's on site, here in front of the Daimon Artist Center. 

C: Hello Philippe, you know, part of the Radio Hall team, so I've been very well received here... so inside, here, it's just to feel the difference between the outside and inside space. So, what do you hear here inside? 

S: It's silent. It's more than silence. It's what we call it. We stop the noise. Everything is organized to stop the noise.  Very typical inside buildings. We're going to lower the noise, so the walls, it's as if they're eating the noise. You hear people talking, playing with wires, someone like that, pieces of metal, which is still someone talking. A telephone, I think. There's a noise. It's the sound of light. 

C: Then there's a fan over there that makes a little sound here. Yeah, that's it. S: That's what I was hearing. You can hear people.

C:. the contrast between an indoor and an outdoor space, something that's really interesting, something that happens to us every day and that we don't pay much attention to. But it's a really nice experience to just stay inside. Outside. 

(silence)

C: There's a sculpture in front of the building here by a Montreal artist. I'll find out his name. 

S: There isn't. There isn't a little sign. 

C: It's Adam Basanta. It's called Triad. Then I'm going to put my mic on like this. I invite you to listen. 

S: Super interesting experiment. And if you do two different ends. 

C; I can tell you about it. 

S: Sounds like different frequencies. But tell me about this one. 

S: You want me to tell you about here? That's interesting. Yes. Wow! 

C: Let's sit here and try it out. I'll go to the other end. Go ahead. 

S: Hi Yes, you can hear me. It's a fascinating noise in here, but there's actually something in this pipe here. I imagine it changes the sound slightly. It's fascinating the interplay of frequency and length. There's a mathematical game going on here, which we ignore or listen to, because it's so natural. But length changes frequency. 

C: Well, we'll stop here, since there's a work of art that has helped us listen more closely to the space here. Thank you for the sound walk. It's going to play, obviously. a Radio-hull 2023, but also on my conscious podcast because it's part of the series I'm exploring, on the sounds of modernity. So we talked about all that this morning. Thank you very much Steven Moran. 

S: It's always a pleasure to talk about Hull, and then it's fun to see too. 

C: See you soon. Thank you, Steven.

*

CREDITS
Recorded at La Filature, Gatineau, August 30, 2023. Warm thanks to Steven Moran for his collaboration. 

This episode was created while I was in residence during the summer of 2023 at the Centre de production DAÏMÔN in Gatineau Québec as part of the fourth edition of Radio-Hull 28 days of programming from September 7 to October 4 2023 showcasing local artistic practices. 

With thanks to the Centre de production DAÏMÔN production team: Manon, Coco, Philippe and Simon and DAÏMÔN’s funders and partners. 

I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this episode. (including all the toxic materials and extractive processes behind the computers, recorders, transportation and infrastructure that make this podcast possible).

My gesture of reciprocity for this episode is to the Canadian Red Cross.

*

END NOTES FOR ALL EPISODES

Note : I'm currently 'pressing pause' and am not producing new content until further notice. 

Hey conscient listeners, 

I’ve been producing the conscient podcast as a learning and unlearning journey since May 2020. It’s my way to give back.

This Indigenous Land Acknowledgement statement was developed by members of the Algonquin community for my former employer the Canada Council for the Arts. I have adapted slightly to make it my own.

• I acknowledge that my studio, located in Ottawa, is on the unceded, unsurrendered Territory of the Anishinaabe Algonquin Nation whose presence here reaches back to time immemorial.
• I recognize the Algonquins as the customary keepers and defenders of the Ottawa River Watershed and its tributaries. I honour their long history of welcoming many Nations to this beautiful territory and uphold and uplift the voice and values of our Host Nation.
• Further, I offer my respect and affirm the inherent and Treaty Rights of all Indigenous Peoples across this land and honour commitments to self-determination and sovereignty that have been made to Indigenous Nations and Peoples.
• I acknowledge the historical oppression of lands, cultures and the original Peoples in what we now know as Canada and fervently believe the Arts contribute to the healing and decolonizing journey we all share together

In parallel with the production of the conscient podcast and its francophone counterpart, balado conscient, I I publish a free ‘a calm presence' monthly Substack see https://acalmpresence.substack.com.  

Your feedback is always welcome at claude [at] conscient [dot] ca and/or on social media: Facebook, Instagram, Linkedin, Threads, BlueSky, Mastodon, Tik Tok, YouTube and Substack.

Share what you like, etc

I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. 

Thanks for listening. 

Claude Schryer

Latest update on March 21, 2026

my response to a colleague’s concern about feeling saturated by the omni presence of eco-awareness information

TRANSCRIPTION OF EPISODE

(bell and breath)

(sound of two climate shows at once then fade out)

I was talking with a colleague recently about how few people listen to ‘end of the world as we know it’ podcasts, such as this one.

And I think it’s because they’re so … fucking, depressing and grim. We are constantly reminded how awful things are and how much more awful they will become, with no credible way out. 

Saturated

I used to think that art could help us with these entangled crises but I’m starting to think the role of art is more about the relationship between consolation and hope as my friend and colleague Azul Caroline Duque suggests. 

Consolation and hope. 

So it’s no wonder that we are:

Saturated, saturation

I also understand the impulse to become enraged as Joan Sullivan tells us in e106 fire - what can we do about our collective indifference? :

We’re just carrying on with our lives as if you know, la la la and nothing, nothing bad is happening. So there was this sense of rage. I mean, like, honestly, it’s surprising how strong it’d be in a violent rage just sort of coming outta me. I wanted to scream… 

Saturation

So how do we channel our apathy and our rage? (In between the chorus)

Dr. Jennifer Atkinson’s Facing It podcast talks about the ‘emotional burden of climate change and why despair leaves so many people unable to respond to our existential threat’.

Do you feel unable to respond to existential threats?

Dr Atkinson reminds us that ‘our future remains unwritten, and by embracing the unknown we are better able to reframe our thinking in empowering ways’.

She explains that ‘the so-called negative feelings that arise in response to ecological disruption (grief, anxiety, anger) can be seen as signs of emotional health, while ‘undesirable’ states, like uncertainty, are potential doorways to transformation. Climate anxiety might even be seen as a kind of superpower.’

Saturation

In Generation Dread, Dr. Britt Wray reminds us that the age of eco-anxiety is upon us and that the afterglow of climate disasters radiate psychiatric trauma throughout the globe. 

She also notes that ‘on the flip side, the tumultuous feel­ings that are on the rise are completely valid, need tending to, and present a great opportunity for justice-oriented personal, environ­mental, and social transformation.‘

So where do we go from here? 

How do we address our feelings of…

Saturation

Dr Wray also suggests that ‘the positive in all this is that the torment comes bearing gifts. If you explore its depths, you’ll find a valve somewhere inside you that taps into the most existential part of yourself. 

Once you open it, a boundless stream of love, connection, and meaning will always be at your back, fuelling what you do.’

Once you open it a boundless stream of love, connection, and meaning will always be at your back, fuelling what you do.

(sound of two climate shows at once then fade out)

How can we tap into our boundless streams of love, connection and meaning ?

Saturation

*

CREDITS

With thanks to Jennifer Atkinson and Britt Wray for using their words. They are both inspiring leaders for me.

This episode was created while I was in residence during the summer of 2023 at the Centre de production DAÏMÔN in Gatineau Québec as part of the fourth edition of Radio-Hull 28 days of programming from September 7 to October 4 2023 showcasing local artistic practices. 

With thanks to the Centre de production DAÏMÔN production team: Manon, Coco, Philippe and Simon and DAÏMÔN’s funders and partners. 

I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this episode. (including all the toxic materials and extractive processes behind the computers, recorders, transportation and infrastructure that make this podcast possible).

My gesture of reciprocity for this episode is to the Indigenous People’s Solidarity Fund, in solidarity with National Day for Truth and Reconciliation

*

END NOTES FOR ALL EPISODES

Note : I'm currently 'pressing pause' and am not producing new content until further notice. 

Hey conscient listeners, 

I’ve been producing the conscient podcast as a learning and unlearning journey since May 2020. It’s my way to give back.

This Indigenous Land Acknowledgement statement was developed by members of the Algonquin community for my former employer the Canada Council for the Arts. I have adapted slightly to make it my own.

• I acknowledge that my studio, located in Ottawa, is on the unceded, unsurrendered Territory of the Anishinaabe Algonquin Nation whose presence here reaches back to time immemorial.
• I recognize the Algonquins as the customary keepers and defenders of the Ottawa River Watershed and its tributaries. I honour their long history of welcoming many Nations to this beautiful territory and uphold and uplift the voice and values of our Host Nation.
• Further, I offer my respect and affirm the inherent and Treaty Rights of all Indigenous Peoples across this land and honour commitments to self-determination and sovereignty that have been made to Indigenous Nations and Peoples.
• I acknowledge the historical oppression of lands, cultures and the original Peoples in what we now know as Canada and fervently believe the Arts contribute to the healing and decolonizing journey we all share together

In parallel with the production of the conscient podcast and its francophone counterpart, balado conscient, I I publish a free ‘a calm presence' monthly Substack see https://acalmpresence.substack.com.  

Your feedback is always welcome at claude [at] conscient [dot] ca and/or on social media: Facebook, Instagram, Linkedin, Threads, BlueSky, Mastodon, Tik Tok, YouTube and Substack.

Share what you like, etc

I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. 

Thanks for listening. 

Claude Schryer

Latest update on March 21, 2026

while introducing a 5 minute recording of a bubbly stream I realized that the stream was flowing within me

TRANSCRIPTION OF EPISODE

(bell and breath)

(In a hushed voice)

This episode..  

(silence)

is about listening… 

(silence)

to this stream… 

(silence)

for 5 minutes…

(silence)

Enjoy

*

CREDITS

This episode was recorded by Lac St-Anne near Duhamel, Québec on August 18, 2023. I was on an e-bike ride in the backcountry when I heard this beautiful bubbly stream. When I kneeled in the mud to record the slate for the recording I realized that the introduction was all I needed. The rest of the recording is silent. 

I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this episode. (including all the toxic materials and extractive processes behind the computers, recorders, transportation and infrastructure that make this podcast possible).

My gesture of reciprocity for this episode is to the Ki Culture.

*

END NOTES FOR ALL EPISODES

Note : I'm currently 'pressing pause' and am not producing new content until further notice. 

Hey conscient listeners, 

I’ve been producing the conscient podcast as a learning and unlearning journey since May 2020. It’s my way to give back.

This Indigenous Land Acknowledgement statement was developed by members of the Algonquin community for my former employer the Canada Council for the Arts. I have adapted slightly to make it my own.

• I acknowledge that my studio, located in Ottawa, is on the unceded, unsurrendered Territory of the Anishinaabe Algonquin Nation whose presence here reaches back to time immemorial.
• I recognize the Algonquins as the customary keepers and defenders of the Ottawa River Watershed and its tributaries. I honour their long history of welcoming many Nations to this beautiful territory and uphold and uplift the voice and values of our Host Nation.
• Further, I offer my respect and affirm the inherent and Treaty Rights of all Indigenous Peoples across this land and honour commitments to self-determination and sovereignty that have been made to Indigenous Nations and Peoples.
• I acknowledge the historical oppression of lands, cultures and the original Peoples in what we now know as Canada and fervently believe the Arts contribute to the healing and decolonizing journey we all share together

In parallel with the production of the conscient podcast and its francophone counterpart, balado conscient, I I publish a free ‘a calm presence' monthly Substack see https://acalmpresence.substack.com.  

Your feedback is always welcome at claude [at] conscient [dot] ca and/or on social media: Facebook, Instagram, Linkedin, Threads, BlueSky, Mastodon, Tik Tok, YouTube and Substack.

Share what you like, etc

I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. 

Thanks for listening. 

Claude Schryer

Latest update on March 21, 2026

a soundscape composition about soundscape composition at Rouge National Urban Park in Toronto

TRANSCRIPTION OF EPISODE

(Bell and breath) 

(various field recordings from rouge national urban park)

Me (at Rouge Park) :

Lake Ontario, Rouge Park, Water, Train sound coming, go.

On August 21, 2023 I joined composer Wendalyn Bartley and ecologist Leo Cabrera on a visit to the Rouge National Urban Park, which is centred around the Rouge River and its tributaries in the Greater Toronto Area. 

We were there to listen to soundscapes, such as what you’re hearing now, a train passing by.

At the end of our listening session Leo asked me to explain how I create soundscape compositions, so this episode explores that question, accompanied by…

(Sound of woman talking about ‘fishies’)

soundscapes. 

So what is soundscape composition? 

Soundscape composition is a form of electroacoustic music characterized by the presence of recognizable environmental sounds and contexts … 

Claude (during field recording) 

Rouge National Park, August 21, about 7pm, I'm waiting for a train.

And context is important here. 

For example, what do you hear now? I heard a swan, birds, voices echoing under a bridge, a bike just went by, there's rumble of the city  in the background, and a baby crying, there’s some young people arriving and … and I hear someone dragging their feet a bit, making a lovely little sound.

(train passing)

Of course, I hear trains and now we’re in another space. What about this place? What’s the story here? 

And what would happen if I changed the story by cutting the low frequencies from this swan and these waves? 

And what if I made the train a bit more distant … and put it to the left?

And what if I place that mom talking to her son about fishies in reverberation a little… on the right side.

And how would you feel if there is no sound at all? 

You see, to me, soundscape composition and art in general, for that matter, is a game of illusion. Artists are constantly playing with our senses of perception and our understanding and interpretation of reality. 

So what I'm doing is inviting you to listen to reality - at least what my microphones captured that day - but also to fantasy, which are my manipulations of those sounds and it’s an interesting liminal zone but it’s also a very privileged space because not everyone who can afford to create and listen to soundscape compositions this way, right? 

I’m thinking in particular about living beings - human and non human - who cannot lower the volume of say, a rumbling train passing by their home every few minutes like this one I recorded in the park. 

(Loud train passes)

Also, what about sounds that have disappeared from our acoustic environment? 

How can we remember and mourn sounds that have become extinct? 

What efforts  can we make to bring some of them back? 

How can soundscape composition help with that? 

Now as I told Leo, my approach to soundscape composition is to ask a lot of questions… about the ethics of field recording, about positionality, about  the added value of an artistic intervention in a given acoustic space.

I also ask myself to whom am I accountable when I record and how can one create sound art that does not perpetuate cycles of extraction and exploitation that are quite literally killing us. 

So many questions….

What do you think?

I’ll end this episode with an excerpt from a conversation I had during the summer of 1990 with the late composer R. Murray Schafer, author of the Tuning of the World book and leader of the World Soundscape Project at Simon Fraser university in Vancouver in the 1970’s. 

Murray and I were talking about microphones and listening:

If the microphone replaces your ear, there’s something wrong. And as you see in a lot of our listening, the microphone has replaced the ear. The mere fact that for instance, we demand presence on all recorded sounds and they’re all close mic-ed, is a recognition of the fact that the microphone, which is an instrument for getting closeups, is respected more than our own sort of hearing experience. The fact that we can no longer listen to the distance. Now, if you’re going to get involved, really, with ecology in the environment, you have to rediscover how to listen to the distance, because an awful lot of the sounds you’re talking about are distant.

I agree with Murray that we need to question our use of technology, for sure, but also learn to listen at a distance, with or without microphones. 

Listen… at a distance.

(Woman talking)

Fishy, where are you?

*

Thanks to Wendalyn and Leo, my collègues on the board of directors of the Canadian Association for Sound Ecology (CASE)  for joining me during this field recording trip. My thanks also to those who were recorded that day and a tip of the hat to Murray Schafer who continues to be present in our lives through his words and music.

I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this episode. (including all the toxic materials and extractive processes behind the computers, recorders, transportation and infrastructure that make this podcast possible).

My gesture of reciprocity for this episode is to the Canadian Parks and Wilderness Society (CPAWS). 

*

END NOTES FOR ALL EPISODES

Note : I'm currently 'pressing pause' and am not producing new content until further notice. 

Hey conscient listeners, 

I’ve been producing the conscient podcast as a learning and unlearning journey since May 2020. It’s my way to give back.

This Indigenous Land Acknowledgement statement was developed by members of the Algonquin community for my former employer the Canada Council for the Arts. I have adapted slightly to make it my own.

• I acknowledge that my studio, located in Ottawa, is on the unceded, unsurrendered Territory of the Anishinaabe Algonquin Nation whose presence here reaches back to time immemorial.
• I recognize the Algonquins as the customary keepers and defenders of the Ottawa River Watershed and its tributaries. I honour their long history of welcoming many Nations to this beautiful territory and uphold and uplift the voice and values of our Host Nation.
• Further, I offer my respect and affirm the inherent and Treaty Rights of all Indigenous Peoples across this land and honour commitments to self-determination and sovereignty that have been made to Indigenous Nations and Peoples.
• I acknowledge the historical oppression of lands, cultures and the original Peoples in what we now know as Canada and fervently believe the Arts contribute to the healing and decolonizing journey we all share together

In parallel with the production of the conscient podcast and its francophone counterpart, balado conscient, I I publish a free ‘a calm presence' monthly Substack see https://acalmpresence.substack.com.  

Your feedback is always welcome at claude [at] conscient [dot] ca and/or on social media: Facebook, Instagram, Linkedin, Threads, BlueSky, Mastodon, Tik Tok, YouTube and Substack.

Share what you like, etc

I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. 

Thanks for listening. 

Claude Schryer

Latest update on March 21, 2026