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
November 21st, 2010
Host of Living Hero, Jari Chevalier, speaks about her work as a multidisciplinary artist, on the What Now show with Ken Rose, KOWS Radio, November 1, 2010.
Link to the interview.
The recurring theme of this relaxed, off-the-cuff discussion was uncertainty and the unknown. Acknowledging our true position in our collective uncertainty can bring empathy, clarity, and equality like nothing else. We also talked about personal change and disengaging from the culture of machines.
Image: American Legacy, inlaid paper collage and acrylic on canvas. Part of the Mathematics of Ecstasy show. See the full set of images at jariart.com.
Enjoy Ken Rose's full list of interviews at pantedmonkey.org.
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.
December 4th, 2009
“Death costs a fortune, but life is free,” writes Living Hero Terry Riley, in a lyric for his composition Missy Gono. Riley is a true original, recognized worldwide for first bringing minimalist musical composition into circulation in 1964 with his now classic In C and thereby influencing a new generation of avant garde composers and acid rock bands. Dedicated to a life of deep listening, composition, and inspired performance, Terry joins us to share his insights into art, a healing spirit and life.
We talked about:
The inner experience of originality ● Terry’s Time Lag Accumulator ● Dipping into a sound current ● Music and altered states ● Creativity, discipline, spirit and nature ● Psychedelics and spiritual practice ● Our world and our path to healing ● Urban sound and sensitivity ● Raising kids in a creative household ● Terry's ongoing relationship with his works ● His creative influences ● Imagination as an aspect of intelligence ● Music as philosophy and a model of the world ● The story of Missy Gono ● 6500 pipes in the wee hours at Disney Hall
Enjoy the show! (The interview is about 40 minutes.)
Listen at your convenience!
Click through to buy some of Terry's CDs on Amazon right from this site in the sidebar to the left.
Visit Terry's website at terryriley.net
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.
July 1st, 2009
Listen in on an illuminating conversation with science writer and author Jonah Lehrer as he shares insights on the work of eight historic creative geniuses and how contemporary neuroscience can lead us to more conscious and fulfilling lives. Lehrer is author of Proust Was a Neuroscientist and How We Decide and a frequent contributor to national magazines featuring his articles on what we're learning about the brain and how our minds work. He also hosts the highly regarded blog The Frontal Cortex.
We talked about:
Insight, intuition and introspection: roads to discovery ● Self Comes to Mind: collaborative work among artists and scientists ● Some common ground among cutting-edge creative artists ● Truth in fiction ● Metacognition and its pay-offs ● Getting better at the marshmallow task ● Making better decisions ● Asking the right questions of contemporary neuroscience ● The right side of our kindergarten report card ● Torturous moral dilemmas ● How to kill a rat with pleasure ● Some of Jonah's goals as an author
Visit: jonahlehrer.com and The Frontal Cortex
Enjoy the show! (The interview is about 46 minutes.)
Listen at your convenience!
Click through to buy Jonah's books on Amazon right from this site in the sidebar to the left.
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
January 28th, 2008
In our language, we have two similarly named thresholds of awareness. One is the subliminal, “that which lies below,” that which we generally refer to as the subconscious. The other is the sublime, which we speak of mostly at times when we have briefly transcended that upper limit, when we are momentarily sent “over the top” with feeling, with awe, surprise or beauty, surpassing our usual realm of sensation and awareness. People have been known to faint from being unable to sustain the sublime.
We would not know these boundaries if we didn’t, in unusual states and circumstances, access what is beyond them. Symbols, metaphors and buried memories do break into consciousness from the unconscious. And we do have wondrous and sublime experiences in nature, through love, in beholding our own newborn child, in moments of discovery, and through the experience of insight.
These thresholds of awareness frame not where you have been and what you have done, but the range of perception and feeling you were fit to bear, whereever you went and whatever you did.
Our ability to access both the subliminal and the sublime is integral to our capacity to accept and bear their truth and their gifts. These thresholds in the self are not fixed. They can go from brick walls to accessible doorways to a mere change in the landscape within yourself. As you develop yourself as a human being and become someone more psychologically mature, of greater spiritual fortitude, your range of awareness and capacity to feel into both the subliminal and the sublime will grow. You will be able to experience more feeling without fear, awkwardness, overwhelm or discomfort. You will also be much more in touch with the tremendous creative and integrative forces that are within you.
How do you open the range of your awareness and enlarge your capacity to feel and know more of your own life’s forces and riches? The best ways I know involve yoga, creativity and meditation.
©Jari Chevalier, 2008
January 13th, 2008
We have a biological and psychological need to sleep and dream; and in our dreams we synthesize life experience through symbolic, metaphorical and associative imagery. If denied this activity for even a few days, we become irritable, imbalanced and upset. Eventually, we will start hallucinating (dreaming while awake), dissociating from reality for awhile.
In our waking lives, as in our dream states, it is a support to our mental and physical well-being to process our experience metaphorically. In our society, however, the preoccupations of thought, the constant influx of music, TV and other media, the noise of our busy lives, prevents the active circuitry of the brain from receiving deeper, more subtle intimations of the self and engaging creatively with them.
Given the opportunity, these intimations and their imagery will surface and become active in the brain. Allowing for such opportunities, and actually encouraging, cultivating and nurturing them, brings joy, enthusiasm, understanding, and a sense of well-being, as well as bearing forth powerful new raw material for innovative, artistic and creative projects.
Lynn White, Jr., in her Frontiers of Knowledge in the Study of Man tells us "We are beginning to see that the distinctive thing about the human species is that we are a symbol-making animal, homo signifex, and that without this function we could never have become sapiens. We have not only the capacity to make symbols; we are under the necessity to create them in order to cope humanly with our experience."
This post is my prelude to our upcoming Podcast featuring sleep and dream researcher Dr. Robert Stickgold, scheduled for this Wednesday, January 16th.
December 31st, 2007
What is a personal vision? It's the way you see the world, the power of your own individual perception, the mix that is uniquely you. In Eastern languages, such as Japanese, adjectives always have "for-me-ness" built into the linguistic expression. (For me) this flower is beautiful.
In English, this personal view is supposed to be implicit, but we often forget to acknowledge our subjectivity in every perception.
Our bodies and minds are processors, synthesizers. We take in all kinds of stimuli the way plants take in sunlight; we convert those stimuli into thoughts, expressions and actions, revealing our own natures in particular and human nature in general.
Think of a large studio drawing class with a model, easels set up all around the room. Each artist is positioned at a different angle to the model and each will bring to the subject interpretive, stylistic and technical qualities. One artist may fill the canvas with large, broad minimal lines to capture the figure. Another may work with great precision to get the proportions as realistic as possible. Yet another may use pointillistic daubs to create a dot-matrix impression of the model.
Similarly, at a cocktail party (which many people may be attending as I write this) each person in the room has a different approach to and perception of the party, a different physical and interpretive angle on it.
We are all positioned exclusively as ourselves, with our own particular perceptions. The artist is the unusual person who revels in this uniqueness and finds strength in it and the will to render it authentically.
Artists convey impressions, images, ideas and views to others, many of whom they will never, otherwise, meet. But how many artists deeply question what's being conveyed by their works? Are you aware of and pleased by what you are conveying, whether or not you are an artist? Are you aware of what you stand for? Do you want to establish a more mature understanding of what it is you convey and what it means to your life and the lives you touch?
You arrive at this type of maturity through inquiry, and through experimentation, and ultimately, through developing a sense of accountability in relation to your work and life.
A person with a strong personal vision has realized his fingerprint, the signature of his being, and thus, wherever he goes, presents a recognizable vision and voice, a style. A friend of the painter Miro once said: "When I pick up a stone it's a stone, when Miro picks up a stone, it's a Miro." There are people in every walk of life who make the world their own, and whose works and expressions we would know anywhere. These are our visionaries.
It will be a happy new year for you and yours, I believe, if you tend to the vision that is yours and yours alone.
November 20th, 2007
Our educational system over-stresses the importance of logical, linear and verbal skills--all of these processed primarily by the left brain. In order to advance our capabilities now, to balance ourselves and come to wholeness, we need to regenerate our innate ability to tap into the irrational, metaphorical, symbol-making, intuitive, tonal and imaginative right brain.
Although most Americans watch a lot of television and see a lot of movies, which are, indeed, image-based, most of us have been rendered passive before images. Pop culture images are predictable and put together by professionals according to formulas.
Our imaginations are stunted. And, as Einstein stated, "imagination is more important than knowledge." So, we need to reactivate and strengthen our right-brain functions and, more importantly, to simultaneously integrate those with our left-brain functions to become whole-brained, integrated beings.