March 7th, 2013
Solastalgia is homesickness when you haven't gone anywhere; it happens when your home environment or habitat changes drastically and you lose your beloved familiar place called home. All over the world human beings and other creatures are suffering from solastalgia. This show is about the nature of care and the care of nature, about how sensitivity, aesthetics, emotions, mental health, societal health and activism come together in the understandings of these aesthetic philosophers who have the big picture in mind while staying in touch with their own deep humanity and interconnectedness with all of life. Enjoy this holistic exploration!
Angela Manno is an internationally exhibited visionary artist who has been exploring the pattern that connects personal and planetary healing for over 30 years. Her award-winning art in a variety of ancient and contemporary media emphasizes the beauty and integrity of the human, natural and spiritual world. Her work is in private collections throughout Europe, the Americas and the Middle East and in the permanent fine art collections of NASA and the Smithsonian Institution.
Angela's teaching, writing and activism aim at cultivating a benign human relationship with the planet. Her courses blend cosmology with instruction in applying the creative process to this critical work. Her articles on art, non-violent direct action and ecological consciousness have appeared in The Ecozoic Reader, Befriending Creation and Friends Journal. Visit her websites: School of Living Arts and her fine art site AngelaManno.com
Glenn Albrecht is a researcher, professor and director of the Institute of Sustainability and Technology Policy at Murdoch University in Western Australia.
He is a transdisciplinary philosopher with both theoretical and applied interests in the relationship between ecosystem and human health. He has pioneered the research domain of 'psychoterratic' or earth related mental health conditions with the concept of 'solastalgia' or the lived experience of negative environmental change. He also has publications in the field of animal ethics including the ethics of relocating endangered species in the face of climate change pressures.
Suzi Gablik is an artist, writer, and teacher. She studied with Robert Motherwell, lived with the Magritte family, and hung out with Jasper Johns. In 1966, Suzi Gablik had a one-woman show of her collage paintings exhibited and catalogued in New York. She later brought a prodigious and caring voice to art criticism, as a respected reviewer of art in London for Art in America, and authored her engaging trilogy of scholarly writings on art and culture Has Modernism Failed?, The Reenchantment of Art, and Progress in Art. She also wrote Magritte, Conversations Before the End of Time, and her memoir Living the Magical Life. Currently, Suzi Gablik hosts a blog featuring her latest cultural and political essays at virgilspeaks.blogspot.com
February 18th, 2013
This show presents “Living Within Means,” an essay and live presentation by Jari Chevalier with short clips from interviews with Morris Berman and from Scott Baum in the first half hour, followed by a live phone conversation with special guests Jim Stoner and Doug Cohen.
From Living Within Means: “Composition is a language of sensitivity and subtlety, a vehicle that takes us down into our inner world where we truly live; it is a code of nuances, translated between artist and audience.
And we are not fully alive inside without this activation of our capacity to communicate in the codes of metaphor. These capacities are so terribly undervalued and stunted in the population at large now. Our human pattern-seeing, pattern-sensing, pattern-generating capacities have been ritually suppressed in the compulsory school system and in our workplaces in industrial society.
This is tragic, as “living within” becomes more and more suppressed and suffocated at the very time that we have so much emotion and deep concern about what is going on in our world to metabolize and communicate.”
Features music by Thievery Corporation.
CLICK FOR INFO About Professor Jim Stoner, Chair of Global Sustainability, Graduate School of Management, Fordham University
About Douglas Cohen, from The Solutions Journal
Aired on WGDR-WGDH radio on 2.9.13.
Image: Soaring Bird by Sara Cole
©2013 Jari Chevalier
July 7th, 2010
Ellen Bryson is the author of The Transformation of Bartholomew Fortuno, a novel about being different, being human, and finding redemption. She holds a BA in English from Columbia University and an MA in creative writing from Johns Hopkins in Washington DC.
Ellen Bryson began as a professional modern dancer, working in Cleveland Ohio and Boston Massachusetts during the late 1970’s and early 1980’s, then shifted her focus to the philanthropic field where she worked for over a decade in both private and community foundations, culminating in national work for the Council on Foundations in Washington DC. A world traveler, she has lived in the middle eastern country of Bahrain and in Argentina South America, where being an outsider both in language and culture, helped inform the message of this, her first novel. She currently lives in San Diego, CA with her husband and is considering a move to France.
We talked about:
The world's thinnest man, Bartholomew Fortuno ● Working back from the ending ● The dream that prompted the book ● The perception of beauty ● Freedom or captivity ● Maternal impression ● Iell Adams, the mysterious bearded woman ● P.T. Barnum's Fiji Mermaid ● The symbolic birds ● What art does for us ● The will to change ● The comic layer of a strange, dark world ● The author's future plans
Enjoy the show! (The interview is about 28 minutes.)
Listen at your convenience!
Click through to buy The Transformation of Bartholomew Fortuno right from this site in the Amazon sidebar widget to the left.
Ellen Bryson's website.
November 1st, 2009
She studied with Robert Motherwell, lived with the Magritte family, and hung out with Jasper Johns. In 1966, Suzi Gablik had a one-woman show of her collage paintings exhibited and catalogued in New York. She later brought a prodigious and caring voice to art criticism, as a respected reviewer of art in London for Art in America, and authored her engaging trilogy of scholarly writings on art and culture Has Modernism Failed?, The Reenchantment of Art, and Progress in Art. She also wrote Magritte, Conversations Before the End of Time, and her memoir Living the Magical Life. Currently, Suzi Gablik hosts a blog featuring her latest cultural and political essays at virgilspeaks.blogspot.com.
We talked about:
Is the human species fit to survive? ● The downside of technology ● The divided United States ● Obama's moral authority ● A burning house, a bus careening off a cliff ● 9/11 as political instigation ● The unbearable places we must go to heal ● Negative capability and extreme sports ● Suzi's magical life of receptivity ● The patriarchy and the black madonna ● The karmic thread of who you are ● How to face the darkness without despair ● Preciousness and unviability ● The artist as role model ● The paradigm of dead objects and the egocentric art world or an alternative: an aesthetic response to the cries of the world ● An alligator named Virgil
Enjoy the show! (The interview is about 55 minutes.)
Listen at your convenience!
Click through to buy some of Suzi's books on Amazon right from this site in the sidebar to the left.
February 1st, 2009
The Living Hero Podcast proudly presents an interview with environmental lawyer and public health advocate, Carolyn Raffensperger. Carolyn is executive director of the Science and Environmental Health Network, where she has worked since 1994.
In 1982, Ms. Raffensperger left a career as an archaeologist in the desert Southwest to join the environmental movement. She first worked for the Sierra Club where she addressed an array of environmental issues, including forest management, river protection, pesticide pollutants, and the disposal of radioactive waste. As an environmental lawyer she specializes in the fundamental changes in law and policy necessary for the protection and restoration of public health and the environment.
We talked about:
• faulty assumptions underlying environmental decision making
• the precautionary principle--what is it?
• a new report on health, aging and the environment
• reversing the burden of proof on the safety of industrial chemicals
• corporate structure and your inalienable right to a clean and healthy environment
• changing laws: rights of future generations and the commonwealth
• reform: the biggest obstacles and the greatest opportunities
• the essential nature of the arts and how they function in the process of change
• genetically altered seeds, the sex of plants, and the farmer-scientist breeding project
• “turning the Titanic,” ecological medicine and the economics of aging
Carolyn is co-editor of Precautionary Tools for Reshaping Environmental Policy published by M.I.T. Press (2006) and Protecting Public Health and the Environment: Implementing the Precautionary Principle, published by Island Press (1999). Together, these volumes provide the most comprehensive exploration to date of the history, theory, and implementation of the precautionary principle.
Carolyn Raffensperger is responsible for coining the term "ecological medicine" to encompass the broad notions that both health and healing are entwined with the natural world. She has served on editorial review boards for several environmental and sustainable agriculture journals, and on USEPA and National Research Council committees. Her bimonthly column for the Environmental Law Institute's journal Environmental Forum appeared from 1999 until 2008.
Our guest has also been featured in Gourmet magazine, the Utne Reader, Yes! Magazine, the Sun, Whole Earth, and Scientific American. Along with leading workshops and lecturing frequently on the Precautionary Principle, Carolyn is at the forefront of developing new models of government, which will depend on precaution and ecological integrity, and guardianship for future generations.
For more information, visit the websites of The Science and Environmental Health Network and of Guardians of the Future .
Enjoy the show! (The program is 45 minutes)
Listen at your convenience!
May 1st, 2008
To live your life as a creative artist, everything you do and experience is invested into vision, meaning and insight; and in this, there cannot be a separation between self, work and life.
Successful creation is a distillation of many hours of time alone just sponging things in and then processing them with the light of solitude on. Solitude, a word that comes from the Latin "solus," is akin to the Greek word "holos," signifying whole, entire. An artist comes to wholeness in and through solitude.
You'd be hard pressed to find an artist who isn't poignantly aware of her existential aloneness, and yet, like anyone else, she lives in relationship. However, often, instead of social relationships, she relies upon deep, abiding relationships with the ineffable intimations of her gift. There's a sense of partnership with the unseen--the muse, the unconscious, the universe--to get her work done.
And so the artist working in solitude is not really "alone." She is having intense affairs with aspects of the self and with the numinous. Henry James once told the journalist Morton Fullerton that the "essential loneliness" of his life constituted his "deepest" aspect.
The quality of relationship with one’s own inner dynamics, which are nurtured in solitude, provide the conditions for creation. The feeling arises, when you are creating, that you are doing what you are meant to do and it is sustained by the experience of being touched by something larger-- a communion experience that one simply cannot explain, but instead must honor and serve.
But there is a big difference between solitude and isolation. To balance long stretches of unbroken solitude, an artist, especially a developing one, needs like-minded others, people who understand the passion and process of a creative person and who support him in his efforts, who welcome him when he finally does come out from behind the closed door. It helps to have a peer group or, at the very least, one trusted fellow artist with whom to share both the work and one’s life.
Solidarity means unity among people, a shared sense of purpose and understanding of what matters--values, feelings, sensitivities about things, qualities of life. Solidarity is every bit as crucial to the health, balance and survival of the artist as is solitude.
Some artists must or perhaps choose to find their solidarity without real-time contact with peer artists, but instead, through the works of more distant artists. In the words of painter and art teacher Robert Henri, "If the artist is alive in you, you may meet Greco nearer than many people, also Plato, Shakespeare, the Greeks. In certain books--some way in the first few paragraphs you know that you have met a brother."
T.S. Eliot states something similar about our solidarity: "A common inheritance and a common cause unite artists consciously or unconsciously: it must be admitted that the union is mostly unconscious. Between the true artists of any time there is, I believe, an unconscious community."
I wonder, are these qualities, which are so obviously critical to the life of the artist, not important to the health, balance, development and well-being of everyone? What do you think?
I have been traveling alone since the end of March, and also living among artists with long days of solitude in my studio and cherished connections at shared meals and walks through the Illinois prairie. I have now relocated temporarily to Austin, TX and I have been exposed to a great deal of art and culture along the way!
Since that last week of March I have seen:
The Homer and Hopper exhibitions at The Art Institute of Chicago;
Laurie Anderson speak at the Museum of Contemporary Art, Chicago;
The collections and current shows at The Milwaukee Art Museum;
The current shows at the John Michael Kohler Arts Center in Sheboygan, Wisconsin;
The Kohler factory tour;
Columbia College Book & Paper Arts facilities and the M.F.A. show there;
A lecture by G. Edward Griffin at the University of Texas;
The On the Road show at the Harry Ranson Humanities Research Center in Austin;
I was also invited to spend an overnight as an all-expenses-paid guest at one of the exclusive private Kohler clubs.
©Jari Chevalier, 2008
April 7th, 2008
I am writing to you from The Ragdale Foundation in Lake Forest, Illinois, a lovely northern suburb of Chicago. Ragdale is an artist residency program that grants support to working artists by providing work/live space and meals (the chef is great here!) so they can concentrate on creating new work.
Immersing myself again in the making of visual art has been healing, surprising, and nourishing. I’m here for a month with other visual artists, fiction writers, and poets. Many of those here since I got here on March 27th will be leaving on Wednesday, opening the space for another group of ten whom I’ll meet, since I will stay on until April 23rd. I’ve met Anne LeClaire, Debra Darvick, Lucy Ferriss, Larry Thomas, Johnny Horton, Anita Garza, Katie Rodrigues, Rone Shivers, Lori Kagan and Amy Walsh. . . I am honored to be in this fine company.
Places like Ragdale acknowledge the need for free time and space to simply BE, to allow oneself to enter a passive-receptive state, a state of quiet engagement and inquiry, which provides the prime conditions for insight, intuitive leaps, and breakthroughs in composition.
You know, all artists are composers: it’s all about composition.
The artist combines and arranges elements to produce a harmonious whole through non-analytical means; a piece of work that has a formal coherence is born of synthesis (as opposed to analysis), which includes both conscious and unconscious layers of experience and that reconciles, in a fresh and new way, the multivalent human experience. This happens through the artist's own visceral and emotional powers of deduction, which are cultivated with practice, enabling something ordered and fixed to be born from the most general, encompassing and ineffable aspects of existence.
Whereas philosophers and scientists seek to encapsulate themes of the human universe and experience through mathematical equations and contextual theories; artists do so through their compositions. In any case, the construct is meant to stand in, reductively, for that which is overwhelming and mysterious, yet ever-present.
Composition provides a resting place for the viewer or listener, a place of contemplation, recollection, absorption. It can do so because it represents and displays a synthesis of the artist’s own many hours of reflection, self-confrontation, and composure.
Works of art thereby become highly fertile common ground for fresh perspectives and cultural progress, not as objects in and of themselves, but as catalysts for insight and understanding: the artwork is where the strange seeds of consciousness, of both artist and audience, meet and take root. This is perhaps why dictators and tyrants seek to either squelch or use the artists.
But in the complicit tyranny of our society, people have allowed themselves to become so busy and distracted that so much of art goes unperceived and thereby rendered impotent and inconsequential. Because even the greatest music, art, books, and dances are nothing if no one is sensitively and receptively listening, watching, reading, and engaging with them. Artist and audience are of equal importance to the enterprise of realizing art. It is vital to take the time to compose yourself and reflect on what is real, true, and beautiful in life; it’s crucial to civilization and human care.
©Jari Chevalier, 2008