conscient podcast

• My interest in science is quite poetic. The things that I find the most interesting about science are when it can be woven into a story that makes sense and I think that's kind of artistic in a way: you take the scientific knowledge and make it into a more abstract kind of poetic thing.

Note: I'll be back during the winter of 2025 with season 6 on the theme of 'art and culture in times of crisis and collapse'. Also, this episode was published on October 23, 2024 : our daughter Clara Schryer's 23rd birthday. Bonne fête chère Clara!

*

(arctic soundscapes: Clara and Noa Caspi talking about drones + daily check in with Resolute + candle ice breaking + plane arriving)

This is the final episode of the fifth season of the conscient podcast.

(arctic soundscapes: Clara trying to imitate Claude’s style of simplesoundscapes recording while searching for candle ice)

This season began on February 21, 2024 with e154 featuring my son Riel’s research on ethics in science:

• I don't think there's going to be any serious response to the climate crisis until real catastrophes start happening. That tends to be how it works. And once you start seeing that, then you'll start seeing very serious action being put in place. Although, we'll see at that point, if it's too late or not.

(arctic soundscapes: Clara and Noa talking about recording technology)

This last episode features field recordings that Noa Caspi and Clara recorded during a 2-month field research project at the Cape Bounty Arctic Watershed Observatory on Melville Island in Nunavut during the summer of 2024. 

You’ll hear Clara talk about some of her favorite sounds, including the unique vibrations of ‘candle ice’: 

• I get to the field in early June, and on the lake, there's two to 3 meters of ice and that only melts. Like, the lake is ice free for like, maybe a couple weeks max, sometimes not even at all, depending on the year and how much ice there was and the temperature and stuff. But this really thick ice as it melts, and I don't know exactly how, but it forms into these kinds of candles.

(arctic soundscapes : Clara and Noa talking about candle ice + Clara walking around in moss)

In between soundscapes from the arctic, you’ll hear Clara talk about the rapid changes in the Arctic and some of the challenges of envisioning a new future and how art might help us imagine possibilities amidst uncertainty.

(arctic soundscapes : bird song, wind)

• Northerners are facing a new world a lot faster than the rest of us are and I'm not sure what to say other than figuring out how to... What's the wording: creating the conditions for the new world… (for other… other possible worlds to emerge – Claude) Imagining what that new possible world could look like is tricky. (And that's what art does - Claude). That's what art does.

(arctic soundscapes : Clara and Noa talking about recording in the field)

My conversation with Clara reminded me that scientific knowledge can be transformed into poetic narratives and that we benefit from both scientific and artistic creative work. 

One might even speculate that they are more or less the same thing. 

(arctic soundscapes : walking on the tundra)

And at any rate.

All of this requires a lot of listening.

*

Sections of the episode (generated by AI and reviewed by Claude Schryer)

Welcome
In this introductory chapter, Clara joins Claude marking the season finale. They discuss the unique perspective of younger generations on pressing issues and the intersection of art and science.

A Scientist’s Journey
Clara shares her background, detailing her journey from Ottawa to studying earth system science at McGill. She highlights her passion for the outdoors and how her academic pursuits led her to a master’s program at Queens.

The Young Person’s Dilemma
Reflecting on a pivotal conversation from Clara’s past, they discuss the challenges young people face when choosing careers that can address climate change. Clara reveals her evolving mindset about making a difference in the world.

Eco-Anxiety and Climate Change
Clara talks about her feelings about eco-anxiety and the complexities of climate change. She emphasizes the importance of focusing on local solutions and the challenges of balancing personal and global concerns.

Fieldwork in Nunavut
The conversation shifts to Clara’s fieldwork at the Cape Bounty Arctic Watershed Observatory in Nunavut. She explains the project’s focus on hydrology, soil, and greenhouse gas fluxes, contributing to a better understanding of the global carbon cycle.

Journey to the Arctic
Clara describes the logistical challenges of reaching her field site, detailing the multiple flights and stops along the way. She shares insights about the isolation and unique experiences of conducting research in such a remote location.

Soundscapes of Nunavut
Clara introduces her recordings from Nunavut, highlighting her experiences doing field recording. She shares her favorite sounds, including the unique ‘candle ice’ and the soothing ambiance of the tundra.

Artistic Moments in the Arctic
The discussion turns to the artistic expressions Clara and her team engaged in during their time in Nunavut. From sketching to singing, they explore how creativity flourished amidst the challenges of fieldwork.

Navigating Inuit Territory
Clara reflects on the complexities of conducting research in Inuit territory as a southern researcher. She discusses the importance of understanding the historical context and the need for meaningful community engagement.

Imagining New Worlds
As they explore the theme of preparing for the end of the world, Clara shares her thoughts on the rapid changes in the Arctic and the challenges of envisioning a new future. They discuss the role of art in imagining possibilities amidst uncertainty.

The Poetic Side of Science
Clara discusses the intersection of art and science, emphasizing how scientific knowledge can be transformed into poetic narratives. She reflects on the importance of creative thinking for scientists and the value of storytelling in conveying complex ideas.

Hope Amidst Despair
The conversation shifts to the often bleak outlook on climate change. Claude highlights the potential for regeneration and adaptation in the face of environmental challenges.

Candle Ice: A Metaphor for Change
Clara shares a poetic metaphor about ‘candle ice’ as a representation of climate cycles, illustrating how dramatic changes can be part of a natural process. This discussion leads to a deeper exploration of destruction and renewal in ecological systems.

The Jaded Scientist
Clara talks about the challenges and joys of working in earth science, expressing feelings of futility in the face of the complexity of earth science research. She discusses the importance of transparency in scientific communication and the limitations of research methods.

Shifting Focus: From Global to Local
Clara reflects on her evolving interests within the scientific field, expressing a desire to focus on local environmental issues rather than global ones. This shift highlights the interconnectedness of local and global processes in understanding climate change.

*

END NOTES FOR ALL EPISODES

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

• The planet's not dying. Our place and our version of it may be dying. So how do we deal with that? How do we accept and live with the knowledge that our version of it is dying. It's not something to panic about in the sense that the whole thing's going away, hopefully. We don't know, but I think that notion of living with grace, living without fear, trying to live without anxiety, because those are just places where we flounder, shut off and develop toxic escapes.

(photo of Kenneth Newby by Linda Ofshe)

I first met Kenneth Newby in 2023 at the infamous Lunch Lady Vietnamese street food restaurant on Commercial Drive in Vancouver. 

We mostly talked about a book he recommended to me, Learning to Die : Wisdom in the Age of Climate Crisis by Robert Bringhurst & Jan Zwicky, which was transformative for me.

Kenneth is a fellow new music composer and sound artist with whom I shared many ecological concerns including aspirations for the role of art in this era of environmental decline.

So, I invited him to have a conversation, my second last of this 5th season, where we have been exploring how to  'prepare for the end of the world as we know it and creating the conditions for other possible worlds to emerge’.

Kenneth now lives in Victoria. We recorded our conversation in his backyard on September 23rd, 2024. We talked about his journey as a composer and musician, from childhood lessons, experiences in blues bands through to interactive music systems, Indonesian gamelan music and psychedelic experiences, among others.

During our exchange, I was thankful that he shared examples of some of his creative projects that integrate storytelling, ecological awareness, and collaborative solutions about societal and environmental issues. It’s good to hear about both theory and practice. 

For example, I was interested in Kenneth's work on the harmonic series as a fractal structure and how he connects it to ecological concepts and ways of being. 

• My approach has been typically to look at the inner life of a sound, try and tease it out and create some kind of soundscape, a composition that's made out of those inner materials and so I was hugely influenced early on by Cage's notion of silence and sound and Schafer notion of the soundscape and an acoustic ecology.

You’ll also hear some of Kenneth’s music in between 3 sections of our conversation. 

First is Aria - Ocean of Storms, an excerpt from his ‘Seasonal Round’ project created in collaboration with poet Robert Anthony, which is composed of raw, time-stretched, transposed birdsong. 

You’ll also hear Howe Sound, a composition featuring birdsong, a frog chorus and transformed excerpts from Maurice Ravel’s Sirènes movement of his Trois Nocturnes as well as excerpts from Crépuscule for Barbara written for harpist Barbara Imhoff.

Kenneth recommends the following books and film:

• The spell of the sensuous : perception and language in the a more-than-human world by David Abram
• Woman in Nature : The Roaring Inside Her by Susan Griffin
• Fantastic Fungi

*

Sections of the episode (generated by AI and reviewed by Claude Schryer)

Introduction

Claude introduces Kenneth and reflects on their previous meeting. They discuss their shared backgrounds in music and philosophy, setting the stage for a deeper conversation about art and the ecological crisis.

Kenneth’s Musical Journey
Kenneth shares his early experiences with music, starting with piano lessons and moving through various musical influences. He recounts pivotal moments in his life, including his time at the Creative Music Studio in Woodstock, which ignited his passion for electronic music.

Cultural Exploration and Learning
Kenneth discusses his fascination with Indonesian music, particularly the gamelan traditions, and how immersing himself in different cultures has shaped his understanding of music and postmodernism. He emphasizes the importance of cultural relativism in appreciating diverse artistic practices.

The Ecology of Sound
The conversation shifts to the relationship between music and ecological issues, exploring how sound can reflect and address the ecological crisis. Kenneth introduces the idea of the harmonic series as a fractal structure, connecting it to ecological concepts.

Art and Environmental Awareness
Kenneth reflects on the impact of his music and the broader role of artists in raising environmental awareness. He discusses the challenges of making a significant impact through art while acknowledging the importance of collective efforts in the artistic community.

Community Engagement in Art
The discussion turns to the importance of local community engagement in artistic practices. Kenneth shares insights from his projects that focus on situating art within the community, emphasizing the need for relevance and connection in contemporary art.

Facing Complexity and Change
Kenneth addresses the complexities of the current ecological crisis and the fear associated with change. He discusses the role of psychedelic experiences in fostering a deeper connection to nature and how they can help individuals navigate the uncertainties of the future.

Literary Inspirations and Recommendations
As the conversation nears its end, Kenneth shares his favorite books and films that explore ecological philosophy and the interconnectedness of life. He highlights the importance of literature in shaping our understanding of nature and our place within it.

*

END NOTES FOR ALL EPISODES

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 think if we can reimagine what matters to us and pursue that, then perhaps there's a chance that we can stop this truly self-destructive pursuit of infinite more, and in material terms, become happy with enough, without giving up the idea of personal growth and evolution, because I do think that is core to what it is to be human and even just alive. Life is about growth. The history of life on earth is one of ever more complexity and richness. And I think it would be like, I just don't agree with the argument that we have to stop growing. I think that's totally impossible and depressing. And I think that's often how economic arguments about degrowth versus growth get framed and understood is, well, we just have to sacrifice, and the good times are over, and now it's just less of everything for everybody. And I guess it's kind of depressing, but that's just reality. I don't think it needs to be depressing. In fact, I think it has to not be depressing for it to work. I think it has to be exciting. And the way that I can get excited about it is to think, wow, well, let's just tell better stories and let's focus on. Let's have some fun. Like, we can. Let's enjoy our lives and find ways to enjoy them that can be grown. And to me, art is just the best, most wonderful, inexhaustible resource in all of its forms.

Hi listeners, 

This is the 3rd last episode of this 5th season of the conscient podcast. I have produced 54 regular episodes since February of this year plus 6 bonus episodes so that’s a lot of content to digest and I invite you to take your time.  

It’s been a lot of fun and I thank all of my guests and their collaborators for their generosity. I’m going to take a break after the last episode, e208 with my daughter Clara Schryer. I’m going to take some time to breathe a bit and prepare for season 6 which will start in 2025 on the theme of ‘arts and culture in times of crisis and collapse’.

So, back to episode e206. Meet Arno Kopecky who is, I think, an upbeat realist. Like I did with e196 alice irene whittaker (part 2) - homing, a book review I will read the introduction to the episode at the top of my conversation, with Arno present, but before we jump in to our conversation, I wanted to share a quote from that episode to give you a preview of what’s coming: 

• If we look into the past, when I think of what art has done to deal with political problems, for example, or social problems, I think of civil rights and I think of people like Nina Simone, I think of Billie Holiday, I think of Toni Morrison and people and all the so many people like them who produced just incredible music and works of art that absolutely had a message but also sort of transcended that message or found a way. It's so hard to put into words for me how they did what they did. But I feel like there is a whole rich body of work that emanated and proceeded from the atrocity that was slavery and racism and a clear social justice tragedy. But you didn't hear the word social justice in any of Mina Simone's songs or Toni Morrison's books. You know, you heard stories, you heard an outpouring, you felt an emotion, and that moved and transported people, and that operates on such a deep societal level. I feel like it's almost, you know, I think art has a way of seeding social awareness and imagination, and that is almost a precursor or a prerequisite for social change. That then also requires political movements and politicians and civil society and all kinds of the realm of reason and logic and journalism and fact and argument.

So, with no further ado, here is my conversation with Arno, recorded on the morning of September 11, 2024 in Vancouver. 

Arno Kopecky’s 2014 book The Oil Man and the Sea: Navigating the Northern Gateway won the 2014 Edna Staebler Award.

Arno is a journalist and writer who lives just down the street from me here in east Vancouver so I invited him to talk, and to do a soundwalk with me about his most recent book, The Environmentalist’s Dilemma: Promise and Peril in an Age of Climate Crisis, published by ECW press. 

I was also curious about Arno’s thoughts on art, the ecological crisis and the multiple dilemmas that we face as we work our way through the trappings and self destructive tendencies of modernity, while trying to retain, in a sustainable way, some of its benefits.

There are many great stories and tales in the book, such as the dilemma faced by people on a boat about to fall over Niagara Falls : should they ignore it, should they change directions or simply accept their fate and have a drink? 

I recommend the book, in particular the audiobook version narrated by Marvin Kaye, who really brings this set of essays to life.

The Environmentalist’s Dilemma confirms that our planet is dying due to gross misbehaviour, however, Arno also observes that humanity, ironically, is doing better than ever. What's that about?

I enjoyed the book because it provided me with insights into a daily dilemma : how to live well and comfortably in this world while denouncing and rethinking it fundamentally. 

I remember listening to the book while biking to Victoria BC and having to stop to catch my breath at a passage in chapter 6 called ‘let’s get drunk and celebrate the future’, where Kopecky suggests that we get drunk and give up, to which I screamed out loud : yes, yes,! I’m in! It was a cathartic moment for me because I sometimes feel like giving up hope and just getting drunk or high or… 

It’s actually quite sane to say these things out loud. It allowed a reader like me to break through emotional barriers and find ways to get on with the work of reimagining life on earth, one step at a time.

I was happy to see that the book has been well received as witnessed by some of the positive reviews I read. For example, the Literary Review of Canada wrote that : 

• In the author’s hands, the book’s titular dilemma emerges in all its richness, ambiguity, and tension as a foundational opportunity and challenge for contemporary environmentalism.

Well said. I agree. Kopecky questions some of our most ingrained assumptions and biases with journalistic rigour and may I say humour. 

The Ormsby Review observed that :

• The value of The Environmentalist’s Dilemma is this hope, that though we are in some ways stuck within a system that limits our options, we can make little acts of rebellion against the system. Our little actions may add to the little actions of millions of others, and may one day change the world.

Now I have to admit that I’ve always believed that the accumulated impact of millions and even billions of small scale local actions can change the world. For example, in the final chapter 13 ‘Every Little Thing’, Kopecky writes about Czech writer and politician Vaclav Havel and how his words and grit helped to ignite a seemingly impossible revolution in Eastern Europe in the 1980s.

Can we do this again at a global scale?

How can we laugh at our predicament and still do the hard work ahead of us? 

Fortunately, Arno is sitting right in front of me here in east Vancouver, on this morning of September 11th, 2024 and has kindly agreed to talk with me about all of this. 

Arno’s recommendations were:

• Res Rules by Chief Clarence Louie 
• Tarun Nayar (modern biology) 

*

Episode Chapters (generated by AI and reviewed by Claude Schryer)

Introduction
Claude welcomes journalist and author Arno Kopecky, setting the stage for a discussion on his latest book, ‘The Environmentalist Dilemma.’ The conversation hints at the complex relationship between modernity and sustainability.

The Environmentalist Dilemma
Kopecky explores the paradox of living well in a world facing environmental destruction, sharing personal reflections on the emotional struggles tied to ecological awareness. The chapter emphasizes the challenges of reconciling modern comforts with environmental concerns.

Hope, Small Actions, and Personal Background
Kopecky discusses the importance of hope through small, individual actions and shares his journey from a middle-class upbringing to becoming an environmental journalist. He highlights pivotal moments that shaped his awareness of environmental issues.

The Housing Crisis and Urban Development
The conversation shifts to the housing crisis in Vancouver, where Kopecky supports urban densification as a potential solution. He acknowledges the complexities of balancing development with environmental concerns.

The Paradox of Progress and Environmental Crisis
Kopecky delves into the paradox of modern life, discussing how improvements in quality of life coincide with unprecedented environmental threats. He articulates the conflict between enjoying modern benefits and confronting ecological degradation.

Reimagining Growth, Happiness, and Art
Kopecky challenges societal obsessions with growth, proposing a new understanding of happiness that values creativity and art. He explores the role of art in fostering resilience and community in times of crisis.

Art and Social Change
Kopecky discusses the historical role of art in addressing social injustices, citing influential figures like Nina Simone and Toni Morrison. He argues that while art can seed social awareness, it must be complemented by political movements for real change.

The Power of Individual Action and Navigating Modern Freedom
Kopecky reflects on the impact of individual actions through the story of Vaclav Havel’s shopkeeper, illustrating the potential for broader societal change. He also discusses the paradox of modern freedom and the need for a collective shift towards sustainability.

Personal Transformation and Literature in Crisis
Kopecky shares a personal narrative about his father’s transformation into an environmental activist, highlighting the potential for change at any stage of life. He also references literature’s response to the ecological crisis, calling for more storytelling on these pressing issues.

Imagining a Sustainable Future and Recommendations

Kopecky concludes with a hopeful vision for a future prioritizing relationships and community over consumption. He shares recommendations for further exploration, encouraging listeners to engage with diverse narratives that challenge conventional perspectives.

*

END NOTES FOR ALL EPISODES

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

• In the face of destruction, we should create. In the face of hurt, we should heal. In the face of hate, we should love. That's my feeling and figuring out how to do that is everybody's job.

I’ve known Sheila James for 25 years as an arts funder colleague, artist, filmmaker, writer, but also her work as an equity expert, social activist and as a family friend. 

Our conversation began with an overview of her views on equity and how it differs from equality. For example: 

• Equity is actually acknowledging that for some people who are disadvantaged, you need to do more. You can't just say, everything's fair. Everybody gets the same bowl of pudding. 

We also touched on equity in the arts such as the biases and systemic injustices that exist within cultural institutions. We also talked about the historical context of arts funding in Canada, notably missed opportunities for support of Indigenous and diverse cultural practices.

We also talked about Sheila’s multidisciplinary art practice, including her writing. I clearly recall reading The Arrangement, from her book of short stories, In the Wake of Loss, at the cottage and feeling a deep connection with her engaging stories as I walked in the forest. 

I asked Sheila to talk about her new novel ‘Outcaste’, published by Goose Lane Editions, launched on May 7, 2024. It explores caste and class complexities in Hyderabad during India’s independence, highlighting a communist rebellion, caste dynamics, and land reform. 

I was pleased that Sheila agreed to read two excerpts from this novel that bring to life the struggles and resilience of her characters. The first you’ll hear is set in 1948 in Korampally, India and is about the character Malika, a Muslim peasant imparting her hopes for her daughter amidst rebellion. It will be followed by an excerpt from Sheila’s You Will have Worth.

The second excerpt is set in 1997 in Toronto and is about Anya visiting her grandfather Irwin at the Queen Street Mental Health Centre. This section reflects upon familial bonds and emotional support in grief. It will be followed by an excerpt from Sheila’s Thru The Eyes.

As we spoke about her book and literature more generally, Sheila emphasized the importance of empathy when engaging with characters in the book. I like the way she encourages readers to find compassion even for the most detestable characters, as this can foster understanding and potential for redemption, for example : 

• I hope that if people are picking up the book, that they're very open minded and try to read the characters or listen to the characters where they're at. There are some horrendous sort of characters, or I should say, there are some people who do some horrendous things in this book. 

Our conversation concluded around the responsibilities of artists in today’s complex world, emphasizing the importance of listening, questioning, and dreaming.

I like Sheila’s thinking on this: 

• I love the idea of listening and really taking that time to listen, because I don't think we do that enough and that means listening not only to the things we want to hear, but the sides that we don't want to hear of.

Sheila is currently reading for the second time:

The In-Between World of Vikram Lall by M.G. Vassanji

And reading for the first time: Salvage : Readings from the Wreck by Dionne Brand

*

END NOTES FOR ALL EPISODES

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

gliding towards a crash

reflections on this moment 

Note: This bonus episode is from my ‘a calm presence’ substack about ‘short, practical essays about collapse acceptance, adaptation, response and art’. Cover photo was taken by me at Tribune Bay, Hornsby Island, BC on September 17, 2024.

Friends and colleagues often ask me why I focus my energies on ‘anticipating, observing, and experiencing societal disruption and collapse’ (deep adaptation forum).

A good question.  

Instead of societal collapse, Arno Kopecky (author of The Environmentalist’s Dilemma: Promise and Peril in an Age of Climate Crisis and an upcoming guest on conscient e206), suggested to me in a September 14, 2024 email that I consider focusing on : 

• a thriving society lens so that we’re running toward something beautiful, rather than fleeing something terrible.

A good point.

Arno also mentions that ‘ultimately it's the same thing’, e.g., that societal collapse and societal revitalisation follow essentially the same path, but I would agree that running towards something positive is more interesting (and useful than the negative). 

Duly noted (as they say on the Canadaland podcast).

However, I have to admit that I quite often fall into collapse rabbit holes and sometimes can’t see the light so I call upon guests from previous episodes, such as e165 bill crandall - art can change us

• Being an artist, or making art, in the context of climate is more about being a kind of light in the darkness, making us believe in ourselves and believe in the future so that we want to endeavor to save the thing that we have, our habitat.  Some people like to say art can't change the world, but art can change us. Then we can change the world more effectively.

So here’s my answer to the ‘focus’ question. 

It’s a story about a story that I recorded in e202 coman poon - what are you doing with your life ? : 

• When I first met Vanessa (Andreotti) in 2019, I think she shared this story with me about, you know, the metaphor of the plane crashed as a way of talking about the time of the great turning, so to speak, for lack of a better term. And this idea is that there is no. There is no prevention of the crime, right? If you and I, and, you know, every living thing that is on, so called, the plane is on Pachamama, Mother Earth with us, we're going through a crash. We're going through, you know, six, extinction, we're going through climate collapse, geopolitical collapse, economic collapse, all types of overlapping, interlaced cycles of destruction. And like on planes, what you can do, at best, is to get ready for a glide as opposed to a hard landing, because that means some will survive, and those that survive aren't necessarily the lucky ones. So while we're on the plane, you know, instead of putting on our noise canceling earphones, pretending that we're not in a sardine can, we could try turning to each other, saying hello. So many things can happen between the moment when we know the plane is going to crash, that there's no getting away from that and the crash itself. So my invitation is to the listeners, what are you doing? What are you doing before the crash, in this time? What are you doing with your life? How are you going to actually weave connection? Because it's still possible to operate without hope. It's absolutely imperative.

‘Saying hello’ is what I try to do with every ‘a calm presence’ posting and also the conscient podcast - balado conscient. 

Saying hello in Coman’s way. 

I don’t feel doomist, defeatist or nihilistic in saying that.

I don't feel like I’m being overly negative, proselytizing, virtue signalling or being self-righteous, though I have certainly done that in the past, and probably will again.

I produced an episode about this:  e111 traps - what are the traps in your life?:

• Observer: I see a trap called proselytizing which happens when people try to teach and convince others that a particular issue of interest should be the most important thing for everyone. 
• Me: Wait a second, I do that all the time as a climate activist and with my art and ecology podcast and… 
• Observer :(interrupting) of course you do and well you should - no worries - but, the danger is that your work could be perceived as an effort to assert ‘moral high ground’ and while this trap may be driven by a genuine passion for an issue, and you certainly are passionate about your work, it has the potential to impose onto others in a way that does not respect their own un/learning journey, and often actually has the opposite effect, pushing people away rather than inviting them in. 
• Me: Ya, Ya, I see. Let me think about that.
• Observer: Sure and when this trap occurs, it can be useful to ask, for example, why do I need to teach or convince or inspire others about my learning experience? Where is this perceived need stemming from?  And if you really feel you need to bring something to the attention of others, maybe you can ask yourself: What is the most pedagogically responsible and effective thing to do so that your message can land?

But this is different. 

It feels good to accept reality. 

Not good, good because it’s actually awful and very painful, as we feel the disappearance of life unfold around us but for it’s better to accept reality than to live in denial. 

It’s better to undergo a lens shift and therefore see and feel things as they really are. 

It’s better to be ready to die at any moment knowing that the truth of that moment was our final breath. 

Now none of this is new. Buddhism and similar spiritual practices have been teaching us this forever. 

So what’s next?

I try keep this excerpt from Robert Janes’ Museums and Societal Collapse : The Museum as Lifeboat in mind:

• Hopeless need not mean helpless. On the contrary, hopelessness is the springboard to helpfulness – supportive, effective, and useful.’

In other words, how to be supportive, effective and useful while living on a plane that is gliding towards an inevitable crash.

My energy is not focused on fixing that gliding plane in mid-flight - tempting as that might be - but rather to focus on those who survive the crash so that they might have a fresh start. 

And for those who follow the conscient podcast season 6 will beginning sometime in 2025 on ‘art and culture in times of crisis and collapse’:

• Claude: Welcome to conscient podcast, Bob. 
• Bob: Well, thank you very much. It's a pleasure to be here. 
• Claude: Now this is the beginning of season six, so I'm quite excited. And it's also early days. Today is Monday, September 16th, 2024, and we're at your farm (on Denman Island) and we've just been walking around with your son. It’s actually not your farm, but your son's farm or both of you. 
• Bob: It's a partnership. . 
• Claude: So I'm not absolutely clear what season six is going to be in the end - t's early days- but I do know that I want to talk about art and culture in times of crisis and collapse and I see your book in front of me here called Museums and Societal Collapse : The museum as Lifeboat…

I’m also working on an Artist Survival Kit.

I sometimes think it should be called ‘Artist Thriving Kit’ but I’m not there yet. 

Thanks for listening. 

*

END NOTES FOR ALL EPISODES

Hey conscient listeners, 

I’ve been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). 

It’s my way to give back.

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

Your feedback is always welcome at [email protected] 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. 

Claude Schryer

Latest update on September 28, 2025

• I'd like to use art more as a tool to get people thinking, get people involved, especially young people, and hopefully, help them process the emotions of climate change and move towards a space of action and hope. At least for me, as a young person, art felt like the way to have my voice be heard, and I hope to help other people experience that as well.

I first heard about Sophie Weider from an email she sent me on August 14th, 2024. With Sophie’s permission, here is an excerpt: 

• My name is Sophie and I am a recent graduate from the Sustainability, Science, and Society Interfaculty Program at McGill University as well as an artist working to foster climate hope and inspire action through my work. I recently discovered the conscient podcast and have been absolutely hooked on it. It has been the most heartwarming, uplifting, and inspiring experience for me. Your empathy and care shows in the thoughtful questions you ask in your interviews. Thank you for creating this wonderful resource for us all to learn from and enjoy!  I have been working in the intersection of the climate and arts spaces for some time and found it to be incredibly validating to hear the stories of so many amazing people doing similar work in your podcast episodes. 

Now that’s very flattering and I appreciate the feedback. Sophie and I had coffee in Ottawa a few days later. We talked about the role of art in facilitating inclusive processes for envisioning a more just and sustainable future and Sophie mentioned some of the projects that she is involved with, including Zine for Hope a creative platform for youth to voice their perspectives on climate change and their hopes for a better future. And what is that better future? I ask myself everyday. It’s sometimes hard to imagine but Sophie believe in arts as a connector and I agree with her that : 

• Something that I really think is valuable about art is that it doesn't hold one objective reality to be true, and instead it allows for multiple subjective perspectives to coexist. Because while it's valuable to have science that tells us the answers, it's sometimes hard to know that this is the answer and not this one, especially when it comes to more subjective experiences, like, how should we relate to our living environment? There are various different perspectives from western science to indigenous knowledge that we can learn from and I think that art can help us see all those things together at once and figure out our own perspectives based on that.

I invited Sophie to have a conversation with me as part of a series of with people in their 20’s, including e154 - the art of history and gaming with my son historian Riel Schryer (also my son), e200 maggie chang - the power of art with environmentalist, poet, writer, and artist maggie chang and the final episode of season 5, with earth systems scientist Clara Schryer (also my daughter). These four young people, and their peers, inspire and motivate me. 

Sophie is also an artist who wrote and illustrated two children's books, ‘The Girl Who Saved a Tree’ (2018) and ‘Who?’ (2020) that explores environmental change and activism to inspire young people to become change-makers in their communities. 

Sophie and I talked about who is an artist and what is art, which reminded me of my conversation with another Ottawa artist Barbara Cuerden in e167 barbara cuerden - tending the garden of art:

• The garden doesn't have to be something that's instrumental. It can be just a place where you sit, where you're thinking of growing something, you know, where the sun shines and where photosynthesis takes place and everything is sort of manifested through the sunlight and the water. It's a fantastic thing on its own without actually having to produce a lot of stuff.

Here’s an excerpt of what Sophie has to say about gardening as art : 

• Isn't everyone an artist? Don't we all imagine and create in some way or another? You know, even, like, I like to think about gardening as an art. This summer, through my work, I worked with a non for profit called EnviroCentre, and we did a lot of gardening, a lot of planting and weeding of green spaces around the city. And I really think it's an art. You know, it involves creatively deciding where the plants are going to go, and it involves, you know, working with your hands to make something beautiful. And it involves a lot of thought and reflection. And I think that's what art is all about.

I was honoured that Sophie reached out to chat about our shared passion for art and ecology and was not surprised to hear that she was a top 25 environmentalists under 25 in 2021 of Starfish Canada, an organization that supports youth environmental change makers through storytelling and community.

Sophie recommends the following podcasts and music:

• Heart Gallery podcast by Rebeka Ryvola de Kremer
• solacene podcast
• Local Valley album by Jose Gonzalez

*

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

• All artists have to be aware of climate because otherwise it's not art (and that's going to piss some people off - Claude Schryer). I think it will. Climate infuses all our responses to everything, to relationships, to our culture, to our history. You can't ignore the climate that it's happening in, and that's why it has to be somehow in the art that you are involved with.

Leslie Reid, an Ottawa based artist and educator, has been influenced by her family’s military background transitioning from political science to art. Her work explores sensory and emotional responses to environments, shaped significantly by a pivotal experience at a decommissioned lighthouse in Newfoundland. It’s a really good story. 

This led her to themes of isolation and family tragedy, often incorporating historical and contemporary imagery to document changes in the northern environment.

During our conversation I read to her an excerpt from her artist statement that helped me understand her art practice:

• The works, in painting and also print, photography and video, explore the physical and perceptual sensations of our experience of a site and the signs of lives lived there, working with liminal states of light and space. Through the ambiguities and uncertainties experienced in this visual field, I seek a thought-provoking and resonant emotional response to the act of seeing, and ultimately to being. 

We also discussed navigating cultural sensitivities. Leslie shared her reservations about working in the North and the importance of respecting Indigenous narratives. She also recounted her interactions with Inuit voices and the challenge of presenting their stories authentically without appropriation.

Leslie also had some advice for aspiring artists - given that she is a long time teacher of art at the University of Ottawa - to focus on their personal responses to culture rather than conforming to trends, highlighting the importance of internal reflection and the role of climate in shaping their artistic journey.

Overall, Reid stresses the importance of sensory experiences in motivating climate action and values feedback on her work. For example : 

• Because it's my senses that have taken me to the work, to the place, to those ghosts, and not wanting to commune with them, not wanting to bring them to the present, necessarily, just to let that lived presence be where it is. It is in our own sensations and until we have sensations within ourselves about climate and what it means, we can't do anything about it. We have to have something that triggers an internal desire to do better, to rescue, even on a very small scale…

After we concluded our conversation Leslie mentioned ‘that all artists must acknowledge climate change in their work’ which I recorded as a coda and have used as the opening quote of this episode. I agree and hope it creates a debate about how climate context shapes all of our responses and relationships - climate in the largest sense of climate - therefore making it an essential element of meaningful art.

Leslie’s recommended readings include: 

• US Arctic Research Commission Daily Newsletter (free subscription)
• The Independent Barents Observer (free subscription)
• Our Ice is Vanishing (Sikuvut Nunguliqtuq) by Shelley Wright
• Burning Ice by Cape Farewell -  Art and Climate Change
• The Right to be Cold by Sheila Watt-Cloutier
• The Future of Ice by Gretel Ehrlich    

*

Sections of the episode (generated by AI and reviewed by Claude Schryer)

Introduction

In this opening chapter, Claude welcomes Leslie Reid to the podcast, setting the stage for an engaging conversation about her artistic journey and connection to the Ottawa community.

Leslie’s Artistic Journey
Leslie shares her background, detailing her transition from political science to art, and how her experiences in England shaped her artistic vision and connection to the landscapes that inspire her work.

The Influence of Landscape

On her return to Canada she rediscovered Calumet Island, home of her maternal grandmother and site of years of summer long family camping on the shores of the Ottawa RIver while her father flew with photo squadrons in the North. This rediscovery led to her first large light and space works. Exploring the emotional depth of her art, Leslie discusses how these personal memories and landscapes intertwine, leading her to create works filled with historical and emotional resonance.

Environmental Themes in Art
Leslie reflects on the gradual infusion of environmental concerns into her artwork, driven by personal experiences and a growing awareness of climate change and its implications.

Reconnecting with the North
Leslie recounts her journey to retrace her father’s flights in the Arctic, using art to document the environmental changes she observed and the stories tied to those landscapes.

Art as a Medium for Awareness
In this chapter, Leslie discusses the role of art in raising awareness about climate change, emphasizing its contemplative nature and ability to evoke emotional responses rather than immediate action.

Experiences with Indigenous Communities
Leslie shares her transformative experiences with Indigenous communities in the Arctic, highlighting the importance of storytelling and connection to the land in understanding climate issues.

Voices of the Arctic
In this reflective chapter, Leslie discusses her efforts to capture contemporary Inuit voices and experiences, emphasizing their resilience and adaptation in the face of climate change.

The Challenge of Hope
Leslie discusses the daunting reality of climate change and the limitations of art in conveying urgency. She reflects on the difficulty of adapting to a growing global population and the underlying desires that drive consumption and environmental impact.

Cultural Resilience in the Face of Change
Exploring the adaptability of Indigenous communities, Leslie shares insights on how the Inuit culture responds to climate challenges. She emphasizes the importance of their lived experiences and the stories that need to be shared to highlight their resilience.

Art as a Medium of Connection
Leslie articulates how art serves as a bridge to connect with the past and the ethereal, allowing individuals to engage with climate issues on a sensory level. She believes that genuine artistic expression can evoke internal desires to act on climate change.

The Importance of Northern Perspectives
The conversation shifts to the significance of understanding the Arctic and its cultures, as Leslie reflects on her experiences in the North. She advocates for greater awareness and dialogue about the impact of climate change on these communities and their ways of life.

Navigating Cultural Sensitivity
Leslie shares her reservations about working in the North and the importance of respecting Indigenous narratives. She recounts her interactions with Inuit voices and the need to present their stories authentically without appropriation.

Advice for Aspiring Artists
Offering wisdom from her years of teaching, Leslie encourages young artists to focus on their personal responses to culture rather than conforming to trends. She highlights the importance of internal reflection and the role of climate in shaping their artistic journey.

Finding Community in Art
Leslie discusses the challenges young artists face in feeling isolated and the necessity of finding community. She emphasizes the importance of connection and collaboration in fostering creativity and addressing pressing issues like climate change.

Engaging with Current Literature
Leslie shares her reading habits, focusing on Arctic research and political commentary, and highlights the relevance of historical literature in understanding contemporary issues. She reflects on how these readings inform her artistic perspective and awareness of climate.

The Role of Artists in Climate Awareness

In a poignant closing reflection, Leslie asserts that all artists must acknowledge climate change in their work. She argues that the climate context shapes our responses and relationships, making it an essential element of meaningful art.

*

END NOTES FOR ALL EPISODES

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

• We're going through a crash, the sixth extinction, climate collapse, geopolitical collapse, economic collapse, all types of overlapping, interlaced cycles of destruction. And like on planes, what you can do, at best, is to get ready for a glide as opposed to a hard landing, because that means some will survive, and those that survive aren't necessarily the lucky ones. So while we're on the plane, instead of putting on our noise canceling earphones, pretending that we're not in a sardine can, we could try turning to each other and saying hello. So many things can happen between the moment when we know the plane is going to crash, that there's no getting away from that and the crash itself. So, my invitation is to the listeners : what are you doing before the crash, in this time? What are you doing with your life? How are you going to actually weave connection? Because it's still possible to operate without hope. It’s absolutely imperative. (as told to Coman by Vanessa Andreotti in 2019)

‘In this episode, we delve into the life and work of Coman Poon, whose journey from colonial Hong Kong to contemporary Canada shapes his unique approach to art and community engagement. His story includes embracing change, fostering connections, and advocating for social and environmental justice.‘

Sounds pretty good, right? This paragraph was actually written by artificial intelligence software Whisper Transcribe. It’s a good tool but it makes Coman’s work sound a bit … dry.

Let me try reading a bit of Coman’s bio written, I assume,  by a human.

Intersecting with his varied inter-arts collaborations, Coman Poon is a bilingual inclusion and intercultural advocate, community and organizational developer, decolonial and indigenous ally of Hong Kong & Toronto upbringing. With Erica Mott, he co-founded re[public] in/decency (Chicago/Toronto), an arts-activist initiative and creative think tank that explored the transnational intersections between live art, social justice activism and arts-informed pedagogy. Since 2013, Coman has been collaborating with his spouse, architect and installationist Brian Smith, under the moniker of [ field ], a life/art collaboration which explores the interstitiality within ritual and performance. Becoming Ten Thousand Things is his collaboration with dancer Naishi Wang centred in contemplative Taoist performativity. With Diana Lopez Soto, Coman co-founded Land Embodiment Lab (LEL), which holds space for the intersection of agroecology, land stewardship and arts practices through research into/of labour. As artist and consultant, Coman chose to be no longer active on social media and has intentionally deleted his website.

That’s more like it but still a bit removed from what I experienced when I spoke with Coman : 

• I want to be of service, and I am of service in a number of different ways. And it's not always as an artist, it's not always through making and sharing something I've made. Sometimes it is around reweaving social connection in preparation for political battle. And I contribute in the particular way I do because I know the skills that I have.

So, as you can hear, Coman likes to apply his skills and knowledge in various contexts. For example, in a reevaluation of our relationship with nature and in fostering connections to navigate impending global crises. 

• The earth has something to teach. If we pay attention. The land and waters and also the more-than-human have something to offer. It's my job to listen, it's my job to notice, it's my job to steward, to tend, and to the best of my ability, to offer something that is going to be an act of reciprocity.

Coman also invites us to explore how art can be a powerful catalyst for change and a way to build resilient communities, which will likely be very important for those who survive that gliding plane crash he told us at the beginning of this episode. 

• I think the arts teaches me particularly because as a creator and also as an expressive arts therapist and coach, that the pathway to moving the dial has to always happen at the speed of trust. So it's relational. It's from moment to moment. It's rooted in presence.

A heads up that this is a longer than usual conversation in three parts : the first was recorded in my living room while Coman was recovering from a cold, the second was a soundwalk in Rupert, Québec and the third was in front of my house in Ottawa. They are presented in this order. 

*

Sections of the podcast (generated by Whisper Transcribe AI and reviewed by Claude Schryer)

Welcome 
In this opening segment, the host introduces Coman Poon and the importance of discussing art’s role in social change and ecological crises.

Coman’s Journey: From Hong Kong to Canada
Coman shares his background, detailing his early life in British colonial Hong Kong and his immigration to Canada, which shaped his identity and artistic perspective.

Art’s Impact on Social Change
Coman reflects on his multifaceted identity as an artist and activist, emphasizing the significance of art in addressing social issues and the need for artists to engage deeply with their communities.

Nurturing Transformation in Arts Organizations
Coman recounts his involvement with Can-Asian Dance, detailing the challenges faced and the strategies implemented to revitalize the organization and support emerging artists.

Community and Collaboration: The Arcadia Experience
Coman describes his life in the Arcadia artist cooperative, discussing community dynamics and the impact of COVID-19 on the artistic landscape.

Reigniting Community Through Art
Coman shares the success of the Arcadian Art Gallery story exchange, highlighting how the initiative fostered connections and storytelling among community members.

Hyperlocal Art Initiatives
The discussion turns to the importance of hyperlocal art projects, exploring how these initiatives can strengthen community ties and address local issues.

Bathurst Quay: A Community in Transition
This section explores the challenges faced by Bathurst Quay during the summer months, emphasizing the importance of creating community spaces to reclaim a sense of belonging amidst change.

Anticipating Change: The Future of Bathurst Quay
As federal aviation laws evolve, concerns about the potential expansion of the island airport arise, prompting local artists and activists to foster community connections and prepare for upcoming challenges.

The Role of Art in Social Change
This segment examines the complex relationship between art and social change, questioning how artists can contribute to community issues while maintaining the essence of their craft.

Innovative Projects: Art Meets Environmental Awareness
The section presents collaborations between local artists and community members to create projects focused on environmental awareness, aiming to inspire collective action among residents.

Art as a Reflection of Nature
In this section, the discussion shifts to an exhibition that explores the interconnectedness of humans and nature through art, challenging conventional views on environmental issues.

Reconnecting with Our Senses
The conversation delves into how art can help us reconnect with latent sensibilities beyond our five traditional senses, illuminating our experiences in urban living.

The Pathway of Trust in Art
This section discusses the importance of trust in the artistic process, particularly in community hospice and expressive arts therapy, emphasizing relational dynamics for meaningful engagement.

Land Embodiment Lab: A New Initiative
The introduction of the Land Embodiment Lab highlights a project aimed at bridging agroecology, community development, and art practice, reflecting on transformative experiences with the land.

Rethinking Consumption and Agency
This section explores the concepts of underconsumption and consumer agency, discussing how individual choices can influence systemic changes and the importance of informed consumption.

Indigenous Stewardship vs. Western Conservation
The discussion contrasts indigenous land stewardship practices with Western conservation methods, advocating for a more integrated approach to environmental management.

Listening to the Land: The Role of Humans
Claude and Coman reflect on the importance of deep listening to the land and understanding human impact on ecosystems, advocating for thoughtful interventions in nature.

Art in Times of Crisis
This section addresses the role of art during crises, examining how artistic expression can provide solace and solidarity amidst chaos while highlighting the challenges artists face.

Lessons from the Pandemic: Rethinking Artistic Value
The speakers reflect on the pandemic’s impact on the arts, emphasizing the importance of supporting artists as essential contributors to society, particularly during crises.

Preparing for the Crash: A Call to Connection

The final chapter presents a metaphorical reflection on the impending crises facing humanity, encouraging listeners to cultivate connections and community in the face of uncertainty.

*

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 believe that we are all connected by these invisible threads, the shared sinew amongst all living things, that includes humans, plants, animals, what have you, and that what art is, is the lighting up, making those invisible threads visible. … It doesn't really explain in that analogy what art is, but it certainly speaks to the way it functions and why it should matter to society : why arts should matter.

In this episode, Robin Sokoloski (she/her) discusses her recent experiences and current work in the arts research sector with a focus on how the arts community can have meaningful impact on  climate change and on community-engaged arts, emphasizing the importance of relationships and collaboration in creating impactful art that resonates with communities.

Robin has been working in the arts and culture sector for over twenty years. I remember her coming to us while I was working at Canada Council with this crazy idea for Mass Culture and 20 years later it is wonderful organization where she is Director of Programming and Research of Mass Culture, where Robin is working with academics, funders and arts practitioners to support a thriving arts community by mobilizing the creation, amplification and community informed analysis of research.

My last conversation with Robin Sokoloski was e61 from research to action in 2021. This time we focused on the end of the world as we know it and the role of art came up, including how to use tools such as the Living Climate-Impact Framework for the Arts project, (see e195 emma bugg - art, scholarship and environment for details) and how to better mobilise the arts sector around climate change. 

Robin, who is a co-founder of SCALE and a leading voice in the Canadian arts service organisation climate action movement and I like her ideas: 

• We're so good at bringing people together and having conversations, as an arts community, on a very surface level about very serious, complex issues. But we need the tools beyond just facilitation and different convening models. We actually need measuring sticks or whatever is at our disposal that we can feel confident in to be able to have those deeper level conversations. And that's what this framework does. I'm noticing as I'm bringing the art service organizations together around these conversations around climate, it's been very focused on climate mitigation. Fine, fair enough. I think that's a very important and valuable thing to be aware of. But now, whether we like it or not, we're at a point where we need to start thinking about climate adaptation. And this is a new frontier for me. I know it's also a very new space for the funders. And so what I think we need to be able to do, and what I feel very proud of what we're starting to achieve, is bringing both the funders together with different actors within the arts community to apply tools like Emma's framework to have these deep conversations about how we can move towards action. What does this look like for us now? What changes do we need to make?

Robin also believes in community-engaged arts and the in ‘walking her talk’ by integrating participatory processes in everything she does: 

• Community engaged arts is really a set of principles that I have completely been able to live by throughout my career. So fortunately, specifically within mass culture, I align community engaged arts very closely to a methodology within academia called participatory action research. And what's so relevant and how I feel that community engaged arts can have a real significant impact on art and climate is because of these principles which always rate relationships above anything else. 

After our conversation, I wrote to a friend that ‘Robin is one of the holders of key knowledge for the future of the arts in this country’ and I think she’s just getting started. 

Robin recommends the following resources:

• Research in Residence: Arts’ Civic Impact by Shawn Newman
• Emergent Strategy by Adrienne Maree Brown
• Designing Immersive Gatherings workshop  by Zach Morris 

*

Sections of the podcast (generated by AI and reviewed by Claude Schryer)

Welcome Back
In this introductory chapter, Claude welcomes Robin back to the podcast after three years, setting the stage for an engaging conversation about art, climate change, and community arts.

Introducing Robin Sokoloski
Robin shares her background, including her roots in Brantford, Ontario, and her role as the director of Mass Culture, emphasizing the importance of understanding the art sector’s impact on society and the environment.

The Climate Crisis and Art’s Role
The discussion shifts to the current climate crisis, with Robin reflecting on her work related to environmental issues and how the arts community can contribute to meaningful change.

Living Climate Framework for the Arts
Robin explains the Living Climate Framework for the arts, a tool designed to help the arts community navigate complex conversations about climate action and its intersection with art.

Barriers to Engagement in the Arts
The conversation delves into the barriers faced by arts organizations in addressing climate change, highlighting the need for deeper discussions and tools to facilitate meaningful engagement.

Community Engaged Arts
Robin discusses the principles of community engaged arts, emphasizing the importance of relationships and collaboration in creating impactful art that resonates with communities.

The Future of Arts in a Changing World
The discussion turns to the future of community arts in the face of societal changes, exploring how arts can foster solidarity and cooperation in local communities.

Arts as Meaning Makers
Robin reflects on the role of the arts in making meaning of the world, especially in a time when trust in information is crucial, and how artists can narrate diverse truths.

Recommended Reads and Resources

Robin shares her current reading list, including insights from research on civic impact in the arts and the importance of experience design in bringing people together.

*

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 really think art is one of the most important things to help tackle issues and create social change. There's that quote from Maya Angelou that goes something like ‘people will forget what you say or do, but they'll never forget how you make them feel’. The power of art is to evoke feelings that stick with people and that's often what inspires people as well.

Maggie Chang is a poet, writer, and artist whose environmental journey started in first grade when she learned about deforestation of the Amazon in school. Since then, Maggie has led campus secondhand clothing sales for sustainable fashion, organized a UN Sustainable Development Goal training, and helped establish EcoSchools Canada’s Youth Advisory Council, leading her to be named one of the first WWF Canada Living Planet Leaders and a Top 25 Under 25 Environmentalist in Canada. 

With a Bachelor of Environmental Studies, Maggie served on the Natural Resources Canada Youth Council and practiced international solidarity with fairtrade, organic coffee communities with Café Femenino, Peru. Currently she works on building an intersectional environmental movement through art and activism and as co-chair of the City of Toronto Climate Advisory Group. 

I first met Maggie at the Trajectories for a Just Economy event organized by Foundation for Leadership, Imagination and Place (FLIP) where she was presenting her an exhibit of portraits of her peer BIPOC environmentalists, building on the work she did at the University of Waterloo on her undergraduate thesis, where her focus was on better racial inclusivity in the environmental field. 

I was impressed by her vitality and by that series of striking photographs of fellow IBPOC environmentalists and so wanted to know more about her views on art and science and life as a Gen Z eco-art activist:

• In terms of what this generation is feeling around environmental stuff, I heard from a sustainability intersectional environmentalism influencer who kind of coined the term, ‘green girl Leah’ on Instagram, she said that studies have have shown that like millennials feel sort of a climate pessimism, but Gen Z feels climate doomism so that's definitely a really big challenge.

Our conversation took place in a media studio of the Toronto Public Library, which Maggie kindly set up for us. It was good to be in a shared publicly accessible media studio while we spoke about the role of art and its relationship with environmental studies and other cross-sections. 

We also spoke about managing eco-grief: 

• In the last maybe year or two, I had some very interesting reflections and experiences where I realized that I had a lot of grief within myself around that rupture of connection to land due to migration. When we think about it, everybody has a rupture in connection to land. So for me, it was because of migration, but for indigenous folks, it was because of the genocidal things that the Canadian government did.

I was uplifted and energized by our conversation.Maggie is very hard working and a gifted environmentalist and artist. The world needs more art and science bridge builders like Maggie. I liked the way she weaves networks and considers them as a form of biodiversity. This type of resilience and vision is critical to our collective future, which is in the hands of Maggie and her peers:

• It's just like biodiversity. When you have a more biodiverse ecosystem, you have more redundancy that's built into it and so even when certain aspects of it are not as strong, you have these networks that can still fill into those spaces and it's just like with our community, when we strengthen our community and we create more connections between us, even when certain parts of the community maybe have a bad season or they have to slow down for a little bit, we can still create wonderful things because we have enough connections to fill in those gaps. Just like biodiversity, right?

With thanks to the Toronto Public Library for use of the studio and to Maggie for her time. 

Maggies recommends the following publications and accounts:

• Green Dreamer (podcast) 
• Green Girl Leah (Instagram)
• On Canada (Instagram)
• Art House TO (Instagram)
• Climate Justice TO (Instagram)

*

END NOTES FOR ALL EPISODES

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