1. From April 15–30, Creative Time will present multidisciplinary artist Maya Lin's What is Missing?, a series of four videos about mass extinction precipitated by the degradation of natural habitats At 44 1/2. There will be a special, expanded schedule of screenings on April 22 for Earth Day. Maya Lin is a participant in the Creative Time Global Residency Program, for which she has traveled to diverse parts of the world to connect with disappearing species for the What is Missing? project.


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  2. Eleanor Roosevelt once said that "poor minds discuss people, average minds discuss events, and great minds discuss ideas." Integral minds, we might add, discuss all three. In the Integral Profiles series, we sit down with some of today's most notable thinkers, teachers, and leaders, discussing the many ways they are catalyzing the Integral vision in their lives, in their hearts, and in their work.

    Don Edward Beck, Ph.D., is Co-founder of The National Values Center in Denton, Texas, and President and CEO of The Spiral Dynamics Group, Inc. Beck co-authored The Crucible: Forging South Africa's Future (with Graham Linscott, l991) and Spiral Dynamics: Mastering Values, Leadership & Change (with Christopher Cowan, l996). He also writes a "Sports Values" column for the Dallas Morning News and appears often in the media regarding issues related to values, sports, and racial divides.

    Here Don offers an intimate glimpse into his own life and career. He discusses the current phase of his work: traveling the world and applying Spiral Dynamics to various geo-political "hotspots" all over the planet. He offers his own ideas about healthy models of society, the crucial distinction between stages of consciousness and the contents of those stages, and the importance of preserving many of the early stages of development that are so often seen as primitive and obsolete. He then goes into considerable depth around the specifics of the Palestine-Israel conflict, describing the needs and problems on both sides of the divide, his hands-on involvement with both nations, and the remarkable receptivity with which his work has been met. At a time when tensions in the Middle East can seem so hopelessly combustible, it is encouraging to see Integral seeds being planted in such surprisingly fertile soil, offering us all a much-needed exhale as we wait to see how evolution will continue playing itself out in this difficult region of the world.

    This is the first of a four-part series on Integral Life. Watch parts 2-4 here:


    Although the first part is available for free, you must be a member of Integral Life to watch the rest of this series. By becoming a member of Integral Life you gain access to this and countless more hours of content—some of the most important and cutting-edge conversations happening in the world—with new audio and video being added every week. More importantly, your membership will also directly support the Integral movement at-large, helping to bring more compassion and clarity to our lives and our world.

    Learn more about Integral Life: integrallife.com/learn-more

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  3. For this month’s Integral Life Art Gallery, we offer our first presentation of video art. Our first gallery in this medium is from Mark Allan Kaplan, the pre-eminent theorist and practitioner of integral cinema, who has produced here on Integral Life a remarkable series of blogs titled “Integral Cinema Studio.” For our gallery this month he offers not so much not a film but a video — this designation not simply about the kinds of technological device used (here a mini-DV camera) but also about the work’s tacit referencing of modes of display that are not centered in movie theatres, as well as its length (5 minutes) and contemplative-meditative mode of artistic expression. The piece is titled The Pond and dates from 2002.

    Kaplan’s video draws knowingly on the sundry lineages of moving images (mass media cinema, experimental film, artistic-exhibition), essayed into affecting in the viewer a series of shifts in consciousness. As the artist reports, he entered into meditative states in both the shooting and the editing of the video. In its gorgeous poetically integrative form, many of the frames approaching the beauty of standalone photographic art, as well as the modes of consciousness it evokes, we are privy to a shining instance of integral video art.

    Moving pictures have an important place in the history of exhibition art, the latter as proper to public spheres of display that emerged with the state-sponsored Salons of the 18th century and continue today with art galleries, museums, and incipient virtual domains like the Integral Life Art Galleries.

    Early in the twentieth-century artists were impressed by new visual media that conveyed motion, as with the photographic explorations of Muybridge (Fig 1) and Marey (Fig 2), and especially by film.  Artists like Duchamp and Boccioni would emulate in traditional media, like painting (Fig 3) and sculpture (Fig 4), the dynamism and temporality of modernity that these new image-media embody. Some avant-gardists invented forms of kinetic art, as with Duchamp’s rotaries (Fig 5), or even explored film making itself, as with May Ray’s works (Fig 6) from the 1920s onwards.  

    It was in the 1960s, with the invention of portable and affordable video devices, along with the explosion in the mass production of monitors (like television sets) that moving images began to enter directly into the domains of exhibition art in impactful ways, inaugurating a half-century unfolding from pioneers like Nam June Paik in the 1960s to exemplars like Bill Viola today.  While the technologies of recording, replaying, and the direct feed of moving-images into gallery spaces has changed over the decades, most recently with the introduction of digital approaches, we speak of this half-century corpus of work as “video art.”

    Michael Schwartz / December 2013

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  4. In the Spring of 1992, G. B. Tennyson of U.C.L.A. was asked by the Fetzer Institute in Kalamazoo, Michigan about the possibility of making a film about Owen Barfield. Fetzer indicated its willingness to fund such an endeavor.

    Prof. Tennyson approached David Lavery, then at Memphis State University, about the project. It so happened that David would be in London that summer teaching a course on British film. After some preliminary inquiries, it was learned that Ben Levin of the University of North Texas, a well-known and experienced documentary filmmaker would also be in London at the same time, and Ben was asked to direct the film. He agreed and sought the participation of the London-based videographer/filmmaker Wayne Derrick. The decision was made to use Betacam to tape an extensive interview with Barfield and do some location shooting in and around London.

    In July 1992 we all assembled at the Walhatch in Forest Row, East Sussex to interview Owen Barfield over a three day period. Students in David's British film class served as crew for the shooting. Professor Tennyson served as the interviewer.

    Over the next two years, Ben, Georg, and David met at the University of North Texas to edit the film. Again, the Fetzer Institute generously funded our work on the project.

    The end result was a 45 minute videotape we call Owen Barfield Man and Meaning.

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  5. This video module is for use in the Where Are We section of the Awakening the Dreamer Symposium (V-1.3 Module 2A: Environmental Sustainability)

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Jewels and trash: droppings along the way

bob sauerbrey

Various films that describe our place in the cosmos, in the Earth's grasp, and in the network of all beings. Interconnection, intercommunity, and interdependence are the ground of all Being. Unless we bring that into our hearts, we will not survive

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Various films that describe our place in the cosmos, in the Earth's grasp, and in the network of all beings. Interconnection, intercommunity, and interdependence are the ground of all Being. Unless we bring that into our hearts, we will not survive in a world in which anyone would want to be a part.

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