A learning experience is a creative experience
Exploring the Creative Experience
Creating Our learning Systems
Ideas in Common
Interest in Ideas
Opportunities to create
Creating Opportunities for Women
Why we have too few women leaders
What we can do to change this
Reach for opportunities – create opportunities for women
Ideas In Common
What we can do
Orchestras of the New World
From the stage to the computer screen
A celebration of collaboration between the worlds of classical music and technology
“We’re exploring how classical music’s 1,200-year-long tradition can enter the realm of high technology and what that will mean for its mission and legacy,”
Michael Tilson Thomas, Artistic Director, Youtube Symphony Orchestra
Bass clarinetist Christine Carter, originally from Toronto and now living in New York, proudly displays the Canadian flag in a promotional video for the event. Other performers include percussionist Michelle Hwu of Toronto, flutist Paul Hung of Burnaby, B.C., violist Sarah Tradewell of Victoria, violinist Allene Chomyn of Kitchener, Ont., and double bassist Richard Carnegie of Saskatoon.
The Globe and Mail, 2011.03.17
There is a real power in 21st century digital culture. I wish that every orchestra would stream or broadcast their concerts online. This has been exemplary of what we need to do to find common threads between each other.
From The Grand Finale Recap
Would we go for the live experience without having a virtual experience, – a recording or a broadcast or recorded performance?
Would we be more likely to go for the live experience if we had the opportunity to have a virtual experience?
Pan American Latin Jazz Festival
Hispanic Canadian Arts and Cultural Association
It is difficult to label a nation or culture with one term, such as Hispanic, as the ethnicities, customs, traditions, and art forms, – music, literature, dress, culture, cuisine, and others, – vary greatly by country and region. The Spanish language and Spanish culture are the main traditions
Centre for Canadian Film
Documentary Organization of Canada
Documentary is a uniquely Canadian art form that blends passion, art, observation, humour and criticism.
Documentary production thrives in a social, political and cultural environment that promotes independent voices and stories; fosters creativity, debate, social action and education; and values the tradition of excellence in Canadian documentary while advancing the evolution of the genre.
Canada has a rich history of documentary filmmaking. Independent documentaries are an essential component of Canadian culture. Documentaries favour the expression of diverse perspectives and viewpoints on social, political and cultural realities, and promote reflection and debate. Investing in documentary strengthens our Canadian culture and our national economy.
Documentaries should be easily accessible on TV, the Internet and mobiles. We believe that all broadcasters, big or small, public or private, should include Canadian documentary as part of a diverse programming offer.
The Documentary Organization of Canada is the voice of Canada’s independent documentary creators advocating on behalf of current and future generations of Canadian documentary makers.
Hot Docs Film Festival
Hot Docs Canadian International Documentary Festival is North America’s largest documentary festival, conference and market. Each year, the Festival presents a selection of approximately 200 cutting-edge documentaries from Canada and around the globe.
Hot Docs was founded in 1993 by the Documentary Organization of Canada, a national association of independent documentary filmmakers. In 1996, Hot Docs became a separately incorporated organization with a mandate to
Hot Docs is a national, charitable organization dedicated to showcasing and supporting the work of Canadian and international documentary filmmakers, advancing and celebrating the art of documentary, and promoting excellence in documentary production.
Point of View Magazine is Canada’s premiere magazine about documentary culture. POV was founded by the Documentary Organization of Canada in 1990 and now exists as an independent quarterly full-colour print magazine with an established and engaged online presence.
POV Magazine delivers smart, thoughtful and critically engaged coverage of documentary films and photographs and the artists that make them to an expanding audience. As the world of documentary media evolves so does POV, endlessly curious about the ways documentaries provide perspective and context in an increasingly frantic world.
POV reaches a targeted niche of Canadian independent film and television producers, directors, and film enthusiasts.
Canadian Film Centre
Founded by iconic and award-winning Canadian filmmaker Norman Jewison as a film school in 1988, the Canadian Film Centre has become a significant economic and cultural driver in Canada as a hub for ideas and innovation within the global entertainment industry investing in the next generation of world-class Canadian content creators and entrepreneurs in screen-based entertainment.
The Centre delivers multi-disciplinary programs and initiatives in film, television, music, screen acting, and digital media, and excites industry collaborations, strategic partnerships, and business and marketplace opportunities for talent and participants.
With more than 1,600 alumni and more than 100 alumni partner companies, we promote and invest in more than a dozen original projects each year to encourage commercial opportunities and build collaborative relationships between our alumni and media companies to create and produce popular, award-winning entertainment enjoyed by audiences around the world.
Canadian Film Centre
Canadian Film Centre Programs
Where we are now
Are we going to allow this? Are we going to allow our future to be defined, decided, and created by the few?
The Pacific Salmon Institute
Salmon is a keystone resource to creating our future. Are we going to allow the loss of this resource to happen?
How do we bring salmon in the wild to the city, – to the attention of our creative community, – our community creating possibilities for our future?
Connect with stories of restoration?
Connect with knowledge about how important salmon are and how important water is?
Connect with stories of what is happening and what we know and what we need to know?
Contextualizing our creative opportunities
In a world of hyper-abundant content, point of view will become the scarcest of resources.
It is not content but context that will matter most a decade or so from now. The scarce resource will not be stuff, but point of view.
The future belongs to neither the conduit or content players, but those who control the filtering, searching, and sense-making tools we will rely on to navigate through the expanses of cyberspace.
from It’s the Context Stupid
Wired Magazine 1994.03.01
What I am talking about is information about information, and the processes by which we filter the onslaught of bits. The computer industry’s blades may not only be modeled after Bambi or Tetris. Instead, I see a huge market in the agent business, modeled more after the added value of an English butler or the Librarian of Congress. Yes, making and owning the bits is certainly better than simply carrying, storing, or churning them. But there may be another bit business: understanding the bits. So far, in the theater of Wall Street, the personal information filter business has only played a bit part. I assure you that it will be tomorrow’s lead role on the stage of success.
from Bit by Bit
Wired Magazine 1994.05.01
What I really need is intelligence in the network and in my receiver to filter and extract relevant information from a body of information that is orders of magnitude larger than anything I can digest. To achieve this we use a technique known as “interface agents.” Imagine a future where your interface agent can read every newspaper and catch every broadcast on the planet, and then, from this, construct a personalized summary. Wouldn’t that be more interesting than pumping more and more bits into your home?
It says that the value of information about information can be greater than the value of the information itself. From that and other similar observations (American Airlines makes more from its reservation system than from carrying passengers) I am willing to project an enormous new industry based on a service that helps navigate through massive amounts of data.
from Less is More
Wired magazine 1994.06.01
Community Media Centre
The rewrite desk
Our Creative Games
Teaching Children Learning
What would contribute to creating better possibilities for creating our future?
Why the arts matter
What are the arts for? Where do they take their place alongside society’s other preoccupations? We ought occasionally to test the arts against ideas of culture, society, and entertainment in order to judge what their standing is and what their role should be. Thus
‘Culture’ includes all the ways in which we think and behave
‘Society’ consists of the structures in which our behaviours are regulated and controlled
‘Entertainment” embraces all the ways in which we spend our time when we are not working for a living.
The ‘Arts’ represent all those creative activities which are distinct from the other three but which attempt to make sense and meaning out of them.
If those definitions are correct, then they contain a danger by seeming to push the arts to the periphery; the others can get along perfectly well without them. More, the activities embraced by culture, society, and entertainment are now so varied, available, and engrossing that the time or inclination to devote time or money to the arts is declining. Has society got other, better, easier things to do?
from Art Matters
Reflecting on culture
Exploring our nature
We care. What we care about. Why we care
The Future of Museums
The Impressionists with Tim Marlowe
The Impressionists and their circle have become the international superstars of Western painting. The works of Manet, Monet, Renoir, Degas, Toulouse-Lautrec, Cezanne, Gauguin and Van Gogh appear everywhere and are well loved by the public and academics alike.
But whilst their popularity is greater than ever, it is easy to forget the revolutionary nature of the Impressionists’ art.
They broke away from tradition not only in their technique – by using touches of colour to capture movement and light – but in their subject matter too, depicting ordinary people at work and leisure.
In this series, Tim Marlow takes us on a journey through the great art movement of the late nineteenth-century and explores some of the most beautiful paintings ever created.
This collection contains all eight episodes from the Tim Marlow series
Exhibition on screen
Discover Exhibition on Screen – a series of films that bring blockbuster art exhibitions from galleries around the world to a cinema near you, in stunning high definition.
Exhibition on Screen is the originator and market leader for bringing blockbuster art events from galleries around the world to cinemas. Intertwined with artist biographies and exclusive behind-the-scenes footage from the galleries, these documentary films are shot for the big screen and offer an immersive, cinematic journey through the world’s most loved art and its creators.
Over the last three seasons Exhibition on Screen films have been enjoyed by more than 1 million people in cinemas around the world.
Seventh Art Productions
The Heritage of Jazz in Canada
Creating Our Recovery Systems
Urban design in the time of climate change: making a friend of floods
How do you address the threat of flooding in urban areas?
The Globe and Mail 2017.07.07
The Future of Museums
Icelandic natural Wonders
The Perlan Museum
Iceland has become one of the hottest tourist destinations for adventure seekers and nature lovers from around the world. Lord is honoured to have helped design and plan the Perlan Museum of Natural Wonders’ first of many exhibitions — an exploration of the island’s glaciers. The exhibition features the world’s first indoor recreated glacial ice tunnel system, a 10-minute 5,000 square foot experience that is breathtaking in its authenticity and ‘wow’ factor. The ice journey leads visitors to a gallery where visitors can explore glacier formation, land forming processes, and the alarming impact of global warming on Iceland’s more than 400 glaciers.
Celebrating our clients and their accomplishments Photo Credit: Bowen Technovation
The exhibition is immersive and highly interactive. A massive gesture based panorama brings Iceland’s largest Ice Cap, Vatnajökull, to life as visitors learn about volcanic activity, flooding, and ice surges. Other devices include hands-on viewers and study models that get visitors up close and personal to different glacier types as well as the tiny creatures that live and thrive in the ice. There is something here for everyone, and visitors participate in the experience by addressing their views on glaciers and global warming.
News from Lord Cultural Resources
Exploring the dynamics of power
Catering to and manipulating the interests of others
Creating with our Nature
Vancouver Theatre Community
Ensemble Theatre Company
The Ensemble Theatre Company is dedicated to achieving artistic excellence while producing theatre that is accessible and relevant, through productions of challenging contemporary plays and innovative approaches to the classics. Ensemble Theatre Company sees theatre as an essential cultural force in leading and framing dialogue on important issues of our day. These core values inform all aspects of ETC.
Ensemble Theatre Company is a Canadian nonprofit company devoted to nurturing both artists and audiences, creating a place of inclusion and a forum for ideas and dialogue arising from the works we produce.
Ensemble Theatre Company
Pender Notes 2017.07.12
From the quantum idea to the quantum ideas we can work with.
What we can do
Leverage the contribution of journalists that contribute to our creative community interests
A creative community enterprise
A creative community creating community around a creative interest and a creative possibility
Hello Galiano Playground Supporters,.
We’ve put together a video of thanks that documents our 28-day journey. Thanks to each of you for your support!
We have met with BCAA and are actively planning the playground, which we hope to have completed by the end of September! Come play with us on our new structure this fall. You all deserve to take a slide, a jump, a climb, a spin, and a swing with us!
For photos and updates of our new playground, check the BCAA website this fall or visit us on Facebook.https://www.bcaaplayhere.com/
Future of Museums
Contextualizing the museum experience, contribution, and creative possibilities
Canada’s many pasts will shape its future
Community Health Centre
Neighbourhood Care Model
Exploring the Live Experience
The experience of the world
The experience of being
The experience of doing
The experience of contributing to creating the experience
The experience of life as a creative experience, – a creative interactive immersive experience
The sweet spot of the creative experience is the experience of connectedness. C.S. Lewis said I read to know I am not alone. I know I am not alone in how I see, feel, and think about the world
Reality television shows create live situations of human competition and interaction for entertainment. We can watch in real life.
Exploring the Creative Experience
A creative connection is a creative experience.
A creative experience is an experience of joy.
A creative experience is being connected with our experience, – to feel the experience. There are no walls between us and our experience. We create the walls, or accept the walls created by our experience, or allow the walls to exist, – for our need for power and for allowing and accepting the power of others, of ideas, of fear.
Travel into new experiences is a creative experience, – if we travel for curiosity and appreciation, – for creative exploration
Media is an opportunity for creative exploration, – if we travel with curiosity and interest in learning experiences, learning from new experiences, appreciating new experiences
A learning experience is a creative experience
A creative experience excites joy, appreciation, and caring. Why explore the creative experience?
Caring is what we feel
Caring is what we do and how we do things
Caring is an interest
Caring is a responsibility
Caring is a contribution
Caring is a creative experience
How does Canada care?
What do we observe?
What do we see?
How do we care?
What are we doing?
How are we contributing?
What do we care about?
Why do we care?
What are we doing?
The boom-bust cycle of Canadian Fisheries has brought both incredible prosperity and crushing hardship to coastal communities. As commercial fishing operations ramp up efficiency to net more cash, the once hardy stock of small boat fishermen find it hard to compete. Will their way of life survive?
Yes, say Shaun and Sonia Strobel, whi in 2008 created Vancouver’s Skipper Otto’s Community Supported Fishery. Members buy shares in the fisherman’s catch at a price that guarantees the fisherman’s income. In return, they get fish that’s seasonally bountiful and sustainable harvested. Lured by the success of the community model, nearly 300 similar operations now serve discerning consumers across North America.
How do we care? What are we doing? Who cares? Who is caring? Who is contributing?
As a coast to coast symbol of both traditional food and fragile resources, five salmon species continue their seemingly tenuous hold on Canada’s Pacific coast, while the last wild populations of an Atlantic cousin hang on in the Maritimes. Nevertheless their collective story of survival perennially enthrals and resonates. “The life cycle of a salmon is a reflection of our life cycle” says Barbara Collins, cultural co-ordinator for British Columbia’s Little Shuswap Lake Indian Band, which relies on sockeye that swim some 500 kilometres upstream from the Pacific to provide sustenance for everything from people to trees. The lesson? What spawning salmon do in a river may be life and death, but what they deliver to ecosystems we depend on is an echo of everything between.
From The Story of Canada in 150 Objects
Collector’s Edition 2017
Canadian Geographic, The Walrus
Creative Canada 150
Exploring our creative evolution
Community Learning Centre
Learn what we know about our common resources, – the resource that creates our community, – our common interest
Learn what we know about who cares and who is contributing and what they are doing and how they are contributing
Learn what we have in common, what we care about in common, and what creative ideas we have in common about what contributes to and is contributing to what we care about in common
Learn how to create community around our common resources, our common interests, and our common enterprise with the intention of exploring for ideas to increase our contribution to our creative interests as a community and opportunities for creative community enterprise
Learn the art of creating possibilities as a community
Vancouver Community Learning Centre
Vancouver Community Health Centre
The Healthy City
A healthy city has a healthy community
A healthy country has a healthy community
Vancouver Latin America Cultural Centre
Archaeology of memory
Restoring Our Oceans
Our collective brain
Creativity is counter-intuitive. Decision-making is intuitive. Creativity mimics the operation of the pre-frontal cortex of the brain. Our creative evolution lies in developing the pre-frontal cortex of the brain, – in evolving the pre-frontal cortex.
Community media mimics or can be used to mimic the operation of the prefrontal cortex of our brain, – and our individual creative evolution, – and our creative evolution as a community, – as a social or civil community, and as a creative community, and as a culture which contributes to our creative interests, as individuals, as communities, and as a community.
Creativity comes from conscious observation and exploration of connections and possibilities and ideas for choices which contribute to our interests and our enterprise, – the pursuit of our creative interests.
Our ability to imagine possibilities, – of what could happen, – and what is most likely to happen, – and consider these possibilities in terms of their contribution to our interests, – and the probabilities and size of their contribution, – is the creative process, – coupled with our experience of learning what happens, – what responses we get, – and being able to observe on how we feel and what we see in the responses we get to intuitively make our creative choices
The prefrontal cortex is the last brain area to mature. Our ability to evolve creatively by evolving our creative exploration is limited by the peripheral narrowing created by our emotions and our fear of loss, failure, and hurt.
Published – http://www.rogerchilton.com/journal/our-collective-brain/
Vancouver Film Community
The Web Changes Everything
Your Network is Your Filter
Don Tapscott was among the first Web analysts to call it collective intelligence; the aggregate knowledge that emerges from the decentralized choices and judgments of groups of independent participants. Author James Surowiecki calls it “The Wisdom of Crowds” and traces the application of collective intelligence across domains such as science, politics, and business. For us, the ability to pool the knowledge of millions, if not billions, of users in a self-organizing fashion demonstrates how mass collaboration is turning the new Web into something not completely unlike a global brain.
The New Public Squares
For today’s Web companies, building trust is the alternative to controlling customers. “Something really interesting happens when you trust your customers” says Celik. “They trust you.” More and more web companies are realizing that openness fosters trust, and that trust and community bring people back to the site. Peterson considers it a new cultural orientation. “It’s about making it clear that you are open and that you are not building a walled garden of content or trying to hold people hostage in any way” he says. Call them the new public squares, – vibrant meeting places where your customers come back for the rich and engaging experiences. Relationships, after all, are the one thing you cannot commoditize.
The Roar of Collaborative Culture
If there is one overarching principle that defines what the new web is, it’s that we are building this thing together, – one blog post, podcast, and mashup after another. The Web is no longer about idly surfing and passively reading, listening, and watching. It’s about peering: sharing, socializing, collaborating, and, most of all, creating within loosely connected communities.
Don Tapscott and Anthony D. Williams
From Wikinomics: How Mass Collaboration Changes Everything, 2006
Published – http://www.rogerchilton.com/quantum-centres/writers-ideas/the-web-changes-everything/
Bute Inlet and Plutonic
Ric Young on Social Innovation