Last 8 hours of 2019 Premier International Women's Business Systems Virtual Summit #BSVS2019
Register here to listen to my talk & those of others.
Premier International Women's Business Systems Virtual Summit, brainchild of US Biz Growth Strategist Marissa Stone, who founded “A Walk in Her Shoes Academy” supporting women suffering domestic violence
Some of the topics you'll get with your free ticket:
Monetizing Your Instagram
Profit Focused Video Strategy
Attracting Clients on Facebook
Clutter Free Business
How to Show up First on Google
Off Camera Visibility
Monetize with Meetups
Invisible to Invincible
Networking Like a Millionaire
Become Facebook Famous
AND SO MUCH MORE.....
Marissa's determination and laugh is infectious so I hope you will jump in to hear one or two of these talks.
I am honoured to share this digital stage and share my thoughts on organising our information overload with a really savvy group of female entrepreneurs and to be one of the only four from the UK (Shelley Fishel and Anna Lundberg from London, and Sudha Mani in Edinburgh).
Each speaker has overcome frustrations to find ways to run their own businesses with integrity and ingenuity.
It's free but you do have limited time to listen - or jump in to the life time access which gives you many more in depth trainings and special free offers.
I used to hate setting goals and still wiggle around being tied down in an overly rational way - yet my vision gets stronger and stronger therefore so does my desire to be more and more efficient and productive.
Therefore it was to both my surprise and delight that Marissa Stone picked me from hundreds of applications in order to be a guest speaker on her summit International Women's Business Systems Virtual Summit
Productivity tips galore.
We all need support networks and here are 64 talks full of personal and business experience.
64 perspectives on creating effective work systems to get more done.
The summit is linked to A Walk in Her Shoes Academy (AWIHS) - the brain child of Marissa Stone. A survivor of domestic violence herself, Marissa knows first hand that leaving is a process, a marathon if you will, not a sprint. Once she decided to leave it took her 5 years to get out and once she did, she went back twice. When she was finally free it still took another two years to get back on her feet. It does not have to be this way.
Marissa says, "I've accomplished many things in my life since leaving my abusive background and next on my agenda is to empower women who are also coming out of domestic violence to learn to use systems to redesign and rebuild their own lives. My big, bold, audacious dream to build an academy that will teach these women the skills required to do project-based work and build a nest egg so when they are ready to leave, they have the funds, skills and opportunities to rebuild their lives quickly, has now arrived. Moving forward 50% of the proceeds from the Premier International Women’s Business Systems Virtual Summit will go to the AWIHS Academy so please help us spread the word!"
Tune in for Dallas meets Cardiff in Buenos Aires!
Here is to your new ways of being, doing and knowing.
PS If the link has expired then the All Access Pass is $297 - you get life time access to all the talks, extra classes and trainings that make it really worthwhile to update your knowledge of tech tools and systems. Equally 50% goes to A Walk in Her Shoes Academy (AWIHS) - a Dallas based organisation helping women coming out of domestic violence.
PPS. If this is the first you heard about this event then we do apologise. We shared it in our other social media but totally forgot to put it here! For next time check in with our Facebook and Twitter, and of this week Clear Insight Productions has Instagram and Pinterest - so you can see at a glance what we are up to. We also love Linkedn so catch us there.
PPPS All of You Summit by Dutch artist Joyce van der Lely is still going so you can also catch our talk there. One Passion Many Forms - what if all our passions have a common thread?
Joyce van der Lely (Dutch artist and educator) has a wonderfully encouraging and infectious warmth to her which made it a pleasure to be interviewed by her for “All of You” - a series of conversations and explorations on how to include every fabulous thing that you have to offer, created for multi passionate women seeking harmony in life and work.
This free event starts today / tomorrow as Joyce is in New Zealand so for many of us we are a day behind. She leads frequent facebook lives from her this cosy corner in her studio that is like a sanctuary.
When I first chatted to Joyce in an interview to see if we thought we could work together there was one line of coincidence which was her memory of holidays in Wales, including to Aberystwyth and to that town with the name longer than the railway station. This mixed with my memories of a summer school with the amazing David Zambrano at the School for New Dance Development (now part of the Academy of Theatre and Dance, Amsterdam University of the Arts) when I was a student.
Then what clinched it for me was the combination of our fluid conversation and the painting Joyce has in her office which was like a wild circle. It could have been an illustration for a short story of Borges. I love spirals and when she told me it was a work she'd made when figuring out her relationship to time, I was convinced.
She has gathered really wild and whacky bunch of speakers who are from the fields of Mindset, Self-empowerment, Spirituality, Branding, Business/Careers, Creativity, Shamanism and more.
With such a combination of Doodlers, Educators, Creative Directors, Feng Shui Consultants, Lifestyle Business Coaches, Poets, Transformational Coaches, Film-makers and much more, this event won't be for everyone yet for anyone exploring, re-examining their life choices and pondering what else there is to life, then there is sure to be at least one talk that will catalyse some unsung aspect or dormant desire into finding its feet.
All of You - 16th Sept 2019
All of You is a week long online summit hosted by artist & coach Joyce van der Lely as a series of conversations and explorations on how to include every fabulous thing that you have to offer and created for multi passionate women seeking harmony in life and work
Stolen Moments - Joyce van der Lely
For sometime I have been fascinated with music in its widest sense whether it is where it spills into opera or the Avantgarde. It has been an unexpected journey for because whilst the pursuit of all things experimental came naturally for me, opera as art form was not on my map for many years. I was far more obsessed with exploring experimental theatre and where it touched dance and the body as in physical theatre, new dance, post-modern dance, performance art, and other cultural movement forms such as Butoh and Body Weather.
It was by chance through my first visit to Argentina with a travel grant from Wales Arts International that I discovered the work of Oscar Edelstein (Composer) and Manuel Eguía (Physicist). Their joint research into the field of acoustics and music was taking sound into an extended form which contained the architectural qualities that I enjoyed in dance and site specific work. In other words they were exploring the exciting world of audio perception and the sense of sound in space.
Their cutting edge research is actually nothing new. Edelstein and Eguía are taking up a conversation between the art and science of music that has a long and fascinating story.
I approach this without the benefit of a background in acoustical science. musical composition, musicology, or physics but as a multimedia artist dedicated to creating artistic experiences that cross that special line from the ordinary to the extra-ordinary, to the oft quoted liminal space, to that otherness that only poets and maybe priests get to occasionally visit and play.
This extensive collaboration between Edelstein and Eguía (which succeeded in being the first research project in Latin America to win major science funding as well as arts funding) re-establishes the old link between science and music - this ambiguous relationship that developed early on in science from the fact that when so often words and vision failed to find adequate explanations for the universe, musical metaphors were a final resort offering concepts such as resonance, vibrations and so on.
In recent times the metaphor of vision has dominated science. This makes Edelstein and Eguía’s work together at the Universidad de Quilmes so important as they take us back into the prioritising of the ear and the process of listening.
The research of historians like Penelope Gouk of Manchester University offer an intriguing parallel to this modern exploration of music as equally a science and an art, as she establishes the importance of music in the development of modern science. Her book "Music, Science & Natural Magic in Seventeenth-Century England" , shows how in the late 16th century and early 17th century the tradition of new experimental philosophy was developing out of the earlier tradition of natural philosophy, and how natural philosophy itself developed out of the tradition of the natural magician - the picture of the lone experimenter who sought to discover universal truths for his personal use or perhaps for that of an elite master. Often music was the source of metaphors used to represent hidden phenomena that could neither be seen or easily put into words. For example the sympathetic resonance between the strings of two instruments was a metaphor frequently used as a way to understand and control unseen forces.
So as well as taking us forward in the field of acoustics, Edelstein and Eguia's work follows in the footsteps of a long line of experimenters who used musical models to illustrate links between the seen and the unseen, right back to the early experiments of the “natural philosophers” of the 16th century, individuals who were working even from before the birth of whom we now call scientists (which is a 19th century term), and whose work itself followed from that of the so called 'natural magicians.'
These experimenters designed instruments as the first attempts to explain the universe in what has been called the “Naturalisation of the marvellous.”
Many of these early experimental philosophers, explains Gouk. were themselves musicians, such as Robert Fludd for whom the practice of music was a step “towards true philosophical knowledge and divine illumination.”
It was only later with the new experimental philosophy that figures like Isaac Newton (1642-1727) searching for underlying structures would begin to draw on maths as a language to reveal the unseen. Before that the properties of bell, lutes, trumpets, and keyboards were frequently used as musical models to describe the functions of the body.
As pointed out by Gouk, the paradox and perhaps the break with the prevalence of the use of musical models came when polyphony was introduced - it was one thing to listen to one instrument and imagine a universal harmony and cosmic order, but this order was under threat when more than one instrument played together. The practice of tuning and temperament had to be introduced as a way to compensate. It was one thing to imagine universal models linked to antiquity such as Apollo - God of Harmony and Cosmic Order with his association with the lyre - an association that court magician John Dee (1527-1608), frequently used. However, put two lyres together and there was a problem. The cosmic order appeared to break down and new models were needed.
It is in this fascinating terrain that Edelstein and Eguia orchestrate the re-meeting of music in its scientific and artistic form. Their work has been patiently and gently taking weight now for over ten years, and the team is ready to show more of the performative results. As a proud member of the production team, I hope this blog begins to identify some of the exciting aspects of this extensive project. I am only beginning here to scratch the surface of the scale of the project and there are others who can speak better about the acoustical science. However I see this as a space to begin new conversations and to offer some material in English and in layman's terms to go alongside the many scientific papers that the research has produced. I hope that little by little I will be able to share a deeper sense of this intriguingly resonant project.
Deborah Claire Procter
Multimedia Artist & Mentor
Founder Clear Insight Productions
For questions and more information: email@example.com
 Gouk, Penelope, Music, Science & Natural Magic in Seventeenth-Century England, (Yale Uni Press, 1999)
 Natural Magic itself in this moment was seen as an antecedent to the ancient tradition of Priscia Theologia (Original Theology) and the belief that God had revealed the processes of nature to Adam who in turn revealed them to the “magi” - e.g. Abraham, Moses, Hermes, Orpheus, Pythagorus and so on. Gouk p.103
It takes 21 days to change a habit, and so Adrienne Lloren, a young Toronto entrepreneur has prepared 21 days worth of interviews with creatives - 25 infact (including me!) - from all spectrums of the artistic sphere.
As a rapper, singer-songwriter, and YouTuber, Adrienne has been trying to figure out the challenge of how to bridge the gap between starving artist to thriving artist. So she decided to take on a research project to learn how successful creatives paved their way into crafting the life and business that they love.
This research project has turned into an interview series called: The Thriving Artist: How Creatives Create Flourishing Careers.
[You can register for a complimentary ticket using this LINK]
These interviews are short and straight to the point conversations with successful creatives who’ve built thriving careers.
In case you are wondering who the speakers are, here are just a handful of speakers you will hear from including me: Bree Noble (singer/songwriter & online radio host, USA), La Marie Ritchhart (Beauty Photographer & Mentor. USA), Nel Shelby (Dance Videographer, USA), Rodney Holder (Music business lecturer & podcast producer, Australia), Ryan Van Poederooyen (Drummer, Canada), Laura C George (Business consultant for fine artists, USA), Luna Jaffe (Jungian psychotherapy & holistic financial planner, USA) more!
As an artist, I understand Adrienne’s question all too well - how hard it can be to pave your way and build a viable career with your craft. Unlike other professions, the creative route to success is obviously not linear, yet it’s not easy to shake off the sensation that it should be clearer.
Adrienne is the founder of GetAMPED a content creation agency, based in Toronto who are a team of passionate communicators, cinematographers and storytellers helping local small businesses amplify their message, and providing marketing solutions to artists driven by passion and purpose.
She is on a mission to get her client amped-up and to craft the life and creative business that you love. “Never be afraid of being different,” she says, and that’s the same philosophy she uses to get her clients marketing with verve and energy.
This summit series starts on Monday 2nd July, 2018. Sign up here for free.
Hope you enjoy it and look forward to any discussions it raises. Any questions, let me know firstname.lastname@example.org
As ever I’m on Facebook here so I am curious to know your thoughts as my mission is that through clarity, insight and production we can enjoy a world full of new ways of being, doing and knowing.
Deborah Claire Procter
Clear Insight Productions in Facebook:
The news around the world is a whirl wind. We search for a horizontals that seems it will take us forever to re-find. In this light whilst leafing through old journals I found an inspiring quote from the determined British film-maker Terry Gilliam who has seen his fair share of up and downs, and the twists of outrageous fortune.
Read it to take your mind back to its creative problem solving centre...
As a child, I always drew funny creatures, funny characters. But I think the trick is not to grow up, not to learn to be an adult. And if you can maintain the kind of imagination you all had when you were babies, you would all be wonderful filmmakers. But the world tries to make you grow up, to stop imagining, stop fantasizing, stop playing in your mind. And I’ve worked hard to not let the world educate me.
Whole article: Ten Lessons on Filmmaking From Terry Gilliam
As a creator I have often been drawn to the concept that noted director Peter Brook (amongst many other things known for being the co-founder of the Royal Shakespeare Company and author of the key theatre text "The Empty Space") calls "the formless hunch" - it is that feeling that doesn't go away and though it maybe as vague and un-solid as a gentle waft of perfume in the air, something of it pertains and lingers. It is like something that you cannot put your finger on, but that will not go away.
For me, one such "formless hunches" is the presence of the horse. It makes little sense as I am not, nor ever have been, a rider - yet as a child as an avid reader I loved novels with horses (I seem to remember that one was of course Black Beauty by Anna Sewell).
Living in Aberystwyth (West Wales) from 2000, I was very lucky to be close to Equilibre Horse Theatre, a company founded by Jane Lloyd-Francis alongside the dressage company, Carreg. Equilibre Horse Theatre (which sadly is no longer running) was a wonderful experimentation with actors and horses that led to a production each summer. Regular actors were colleagues such as Ian Morgan who comes with an impeccable pedigree of years in the Grotowski Workcenter, and is a long term member of the "Song of the Goat" (just this week mentioned in the Guardian guide to 10 best alternative city breaks as one of the reasons to visit Wroclaw). Directors included Centre for Performance Research's Richard Gough, and designers like Simon Banham (co-founder of Quarantine) so the work was always highly visually, physical and filled with vocal colour and intensity.
This opportunity combined with my fascination of choreographers like Trisha Brown and the whole post modern dance movement which Sally Banes outlined and marked in "Terpsichore in Sneakers" where she mapped out the important shapers (such as Judson Dance Theatre, Simone Forti, Yvonne Rainer, Steve Paxton, Trisha Brown, David Gordon, Deborah Hay, Lucinda Childs, Meredith Monk, Kenneth King, Douglas Dunn and The Grand Union) and their steps to move through and beyond the restrictions of classical technique. Virtuosity for virtuosities sake was questioned and choreographers like Brown took to exploration of alternative performance spaces, and the lines between trained and un-trained movement, so that pedestrian movements such as walking or falling were equally relevant in a choreography as would be a jeté or arabesque.
In this vein, to work with horses that have an extensive movement training was completely intriguing. I began a brief collaboration in with Jane Lloyd-Francis in my site specific work "Seapiece" in 2002. In the spring of 2010, the Arts Council of Wales funded a period of research and development of a project that I called “What if? / Beth os?” so there was a chance to continue the exploration.
My idea was to investigate ideas about landscape and its representation in performance based around questions of how to make a song of a space, and how to make a portrait of a landscape.
I was returning to West Wales after a large amount of time spent in Argentina. So it was as if as well as the voice of Dylan Thomas in my head, I had added the labyrinthian words and world of Jorge Luis Borges. Thus I began this work thinking about the strange mirror that exists between Patagonia and Wales, where despite a separation of 13,000 kilometres and many years, there still persists a community of Welsh speakers. I was thinking of landscape and travel where the horse has been a key to our development.
During the working process composer Oscar Edelstein came up with the title “A Horse Bleeding Shakespeare” that perfectly captured the magical epic presence of the horse and its ability to be a macro or microcosm.
The final result of the research process that culminated in a day's filming on Ynyslas beach.
An exhibition is being planned in Buenos Aires for later in 2016 and at the end of 2016 there will be a full colour book.
It was a "formless hunch" that led to images that I had not predicted and was thanks to an incredible team of collaborators.
To be updated please send a message to email@example.com
Complete set of 55 images
The images in this series of 55 are available as limited edition fine-art archival prints sized at 375 x 500 cm each limited to 15 plus 5 Artist's Proofs. All prints will be hand numbered and signed by the artist. They will be also supplied with Provenance Certificates authenticating the type of paper, date printed and number in the edition. In addition there is a PDF explaining more about the work.