a personal thing body to make people think about things that are really out there. why? body wise, why the most personal thing in the world? because we all live inside work and i just wanted to start with the only thing that i could really be certain off, which is that yeah, i exist. i exist in a place that we call a body. and i guess there's so many illusions about the body that we call it my body. but of course it has its own agenda. it's part of a bigger system. and i think just to start with the intimate but also the thing that is common to all of us, we all live inside the body. we all live at the other side of appearance. and i guess thing here out the body principally as a place rather than the object. thinking of it as a place where we yeah arrive to consciousness and then see about how a body connects to light to air, to space. or i just, that's my project and i it's interesting because at our school, in a way you learn about other art. and i really wanted to start from 1st principles learning about life. i mean, or trying to make things that connect with life. and i think that means principally through feeling and where does feeling come from, from the body. so, you could say my, my project is anthropological rather than aesthetic. i want to, i want to use the space of art as a test ground, asking really simple questions. what does it feel like to be alive? what is our relationship to space and to each other and to all living things? what is our relationship to time? and you could say all these are big philosophical questions. what are you doing? trying to make objects that relate to these questions and i say, well, i think that sculpture can be an objective, materialized full of skips is of skepticism. asking less socratic questions. we not certainly talk a lot about i statics versus the concept and, and the way your works are perceived by a wide range of audiences. but before that little bit more about the body and you, because i'm also believed, always believe their friends is the best writer, writes his masterpiece, when he knows exactly what he's writing about when he's lived that story, right. and i mean, it must be the same thing for you working with the bodies where it is but except the fact that you've cast yourself literally cast it yourself. um, what do you find in buddies? because i know you were german college. i go to basil. it's used to say that, you know, sculpture is like archaeology unique and you find something. what he dick, when you, when you find, when you dig into the body. if you think of what we admire and i admire to in michelangelo, bernini is that he manages to render into the crystalline and the fixed substance of marble. something of my tell a t o f over over feeling carried by that to me. and i guess for me rather than trying to ah, yeah, illustrate vitality by an understanding of anatomy. i want to start with, with, with, with life itself. i don't just make body works, but all of the bodies that i make start with a live moment of human time, my own. and it's really a question of life in a way, accepting the condition of sculpture and what is the condition of sculpture. it's still, it's silent and it captures time. we have consciousness, sculpture has time and a weight and the weights for our ability to move in time to think to feel. and this for me, rather than trying to make the inert into a movie, allow the stillness and the silence of sculpture to provoke us, viewers into movement. and anyway, this for me is, yeah, the challenge for me this, this potential of sculpture to live in the elements. it doesn't need an institution, doesn't need a label, doesn't need a title. how do we return to that function of sculpture in which it begins to articulate our relationship with the earth and, and with time? well, you're saying right there about this culture that doesn't need a title if need be, label, it just needs to be to start to articulate within the space. do you feel the same about the, by the whole story of home and in evolution? this is an extraordinary one because we all started or sapient. save it and started coming out of africa maybe 70000 years ago. but there were several other attempts to leave africa that failed the 1st modern human is probably 300000000 here. so we haven't changed much since and her, sorry, 3 100000. what am i saying? 300000. and i, i would say we, we, we've changed very little. and that's the problem. as yo, wilson says, you know, we have paleolithic, her emotions, medieval institutions, and anna, godlike technology and the combination of these 3. barry, you could say historically distinct seeks fixes within our psycho physical makeup. i have rendered us pretty dangerous both to ourselves them to the, to the planet. simply because we are still going on the flight from flight. we are still treat, treating terrorists territory and the availability of, of all resources as, as things we have to fight for. and capture which is right primitive because it's just, we have never in terms of our extended arm in terms of our technology. human kind has never had such amazing capability and it so but it's a tragedy. i think it's a little talking more about the human nature rather than a human body. i do agree that no, i phone 1500 has been able to change the fact that humans killed us for a piece of land and peace and brag 1020500 years ago that they still continue to do that. so yeah, we don't evolve as a human nature along with technology, but the road to body does change. i mean, if you think of how it used to be true, it like it object and now little by little you sort of get hold of it and you know, you are the owner, your body and more. we go on, you know, less. anyone is allowed to tell you what to do with your body. so in that sense, the role of a body of a human body has certainly changed in the society. you know, a great. i don't agree. i think it's very remarkable. for example, how in a video, greek, ideals of bodily beauty are still very current. i mean, extraordinarily so, so it, you know, gibbons the world over a use paxil item or video sculpture us as kind of promotional or, or, you know, i conic models for, for the programs that they offer. and i think what you're talking about is, is the necessary change of the sexual kind of role in position which society is constantly re addressing. but we seem to go round around in circles. i mean, i think there's more sexual plasticity these days. and then before, but then when you look back at human history or certainly across all couches or i am after that i tis of was extremely, i understood, respected even, worshipped in the time of my re key americans the a yeah, the, the acceptance. so f o, forbes of homosexuality, we're, we're, we're again understood, integrated i, i'm, i'm very dubious about notions of progress being inscribed in the body afternoon and take a short break right now. well, we come back, we'll continue talking to sculpture and philosophers are anthony, go away. we're talking pretty much about the purpose of sculptures and art in our life. stay with us. blue. over the past 2 and a half years, russia, nato agreed on very little. if anything, however, both agreed to meet for a high level meeting and they did in brussels. both sides made their case, nothing was really resolved lots of words. what happens next? maybe actions july, an annual festival in st. petersburg dedicated to dust i ascii. ah, the great writer, a thinker and psychologist, or people often tend to his work to understand russia and russians, perhaps even themselves. i think what they seen on the sick would be think about the matter vehicle and why do you need them changing a reader, transforming them as they read that does i asked as unique ability to stay ascii wants to tell us you can better yourself. it makes you face your true self with beyond conventions, rules of schemes, beyond the boundaries and time. dostoevsky is a global brand whose classics, everyone knows, i'm never out of stuff and it really is happening here and i was on t a l. salvatore and then to be known globally as the home of big coin city. and we're witnessing the demise of gold as the monetary. the monetization takes place. ah and we're back with sculpture philosopher sir anthony gormley. anthony. when you do your installation, she does it amazing sculptures of all sizes and you say that this is to promote people to think to, to move. you do have a precise idea where you would want them to move probably. now when you say, for instance, i will go on doing as much as i can to make pieces that encourage people to think openly about what is possible for our spaces in the evolution of life. what is possible for our species in evolution of life? well, i think that we have to, 1st of all, reconsider what is, what is life and the renaissance had this notion of the man as the measurable things. and it's very clear from the work of everybody from love look through true ear wilson that we are totally embedded in the biosphere and the biosphere is entirely responsible for the extraordinary relationship of gases that our body totally depends on. if there was only 18 percent of oxygen in the air, or there was 25 percent the of our, our whole metabolism would not exist. the history of photosynthesis, in terms of the 4000000000 years of life on this planet, is what has form that atmosphere. and her, i think that may be on its purpose. now having released itself on the need to illustrate either religious or state orthodoxies, is to start to ask those questions about how human being fits within total being. that means all i forms are on, on this planet and, and it's of a very different order to man as the measure of all things. it is a man and maybe as the point of reflection of all things. i think we've come now at the beginning of a nother millennium to realize that actually are as to return those freedoms to the viewer to the world too, to all conscious beings and say, this object which is really a space of possibility can be used as a location will full a crowd of co creation of meaning. so there's no determined truth. there is no, there is no, as it were a value system that this work attempts to approach. but together, maybe in using this work as a lens or an instrument to examine our own experience in the world around us. we can begin together to create something of value you're saying about, ah, you know, concept versus i static and that's what modern art has come to. no one really cares about the form or the beauty. it's really about the concept, which is a good thing and it is supposed to give the view or the freedom that you inspire to gave. so you can examine yourself and live in your place in space and time. but then again, it has come to a point where aid, anyone pretty much who draws a line can say this is art without any concept or any craft behind it and sell it for a $1000000.00. and that's just, you know, for me a mind boggling. they has come to that. and 2nd of all, the concept that they put into modern art, i don't want to, i don't want to sound mad, but i'm kinda sick of people doing it all around, you know, the concept that it put them on or not. it dictates you what to think. it does not give you the freedom to, to examine yourself into space and life and, and the beginnings and the end of the universe. well, i said that we, we have to exercise a discrimination as well as sympathetic interest in our engagement with each other and in all over the experience is that the world offers. i'm not, i'm, i'm not unhappy about the fact that there are more artists with doing more work than ever before. but it does, you know, what i am proposing behold, is share if you like. what, what, what the potential offers in terms of a place of co production, meaning you, you, you don't, you don't need to answer the invitation of every work saying, look at me, i'm really, you know, i think that we the good thing about the proliferation allowed in our time is that, that actually everybody has to, in some senses, are simply for, for a survival sake decide quite quickly. this is something that is speaking to me. this is something that i want to in a way, invest time and attention to or not. and her in every age has always been a lot of a bad art bad up. and but i feel like now more than ever, especially with internet, anyone who is not lazy comes himself an artist shouldn't be. there is some sort of a mechanism to sort artist out of non artists in, well i think that it's, it's not such a bad thing if everybody does think they can have a go or he just puts a greater burden of responsibility on the look at to that to me who your shareholders share has to be the critic and the judge, which i think is fine artists, no longer wait for the approval of the elders and betters. they make shows for themselves in old factories or on the road or, or anywhere. and there's a sense in which i think all of the orthodoxies of an administered culture have collapsed. and you could say there are sad losses as a result of that. so the notion of counterculture has somewhat disintegrated in the face of this poorly formation of creativity. em, but i think on the whole, for me, the fact that now there are more galleries, there are more collectors. there are more shows means that there is a genuine collective consciousness about the creativity of our time. and in a way, the need to deal with it. so to decide what is worthy of your attention and what isn't. and i, i think that during the old days you know, your football team, you'd know particular players. but in britain certainly you wouldn't know your artists and, but that's not true anymore. everybody's gotten opinion about damian and no one is arguing with that. everyone knows their artist, dirges, wait a good thing. so yes and no, it's a good thing, but like, should there be some standards? i mean, imagine who is good to administer standards. i don't like 1994. i don't know. a ministry of beauty. a shaheen isn't important anymore in art to day. put some sort of standards, i mean hear me out. imagine if in santa, you're amazing, mind boggling. north angel. it was some weird installation that no one really understood no standard, but it is art for someone else who made it. and then people have to look at it every day. are you going to do with it? i mean, it's not a piece of chicken. the cookie can eat for yourself, and you're done with it. this is something that you put in a space, not your personal space, but you put it out there for people. i think this is a really good question. what it, what, what gives any one the right. as it were to litter the world with things that were not asked for by, as it were, communities or people. when you do decide to work in collective space, i think you have to work with the collective body. so you say my angel is not my angel. i had an idea. but that, that, that idea was already a response to a desire of a community, a community that had been told by the middle of the eighty's that it has no future that it actually had no meaning. i at this idea i went to this place that had been told that it had no future and said work, what can we do? what can we do together to deny that in a way government audit. and this was a amazing collective coming together. we found ship builders who could been ship plate to, to, to make the form of the body. we use this in a way analogy of the ribs of a ship to rethink the body as a vessel. and we work with the engineers of newcastle university with virtual reality department in summerland university. it was really, there were maybe 200 people involved in the evolution of that. and what was it? well, it's a very pre modern idea of art. this is a totem. this is a totem or a fetish that that is a focus of a collective belief in a place. the community of that place, in a way, the common language of making of that place, the angel of an, or stands in an industrial valley. we have hundreds of little factories down there, the other side, it's just moorland. and somehow this relationship it's, it's, it's, it's embedded in the texture of real life. and that, that for me is the most magic thing is somehow like putting this object that wasn't there before into this place. does the place itself become reflective? and then you begin, you're, you're invited to think, what is the relationship between this moorland and these factories and you, your, your invite you to look at the landscape itself, not in the way that you might look at a cloud or a landscape painting. but the landscape itself as a picture, a picture that's telling you about human values and about our feeling about the future. it's been such a pleasure talking to, you know, it's very shortly. thank you. thank you very much. thank you. every 2nd of lou. while our officers are facing in increasingly dangerous environments, we are seeing a growing debate about so called warrior cops. the term that i've heard in the militarization of police this is an amber vehicle we acquired through the 1033 program, very free program and the government program that follows military property that is no longer use to local law enforcement. with building an army over here, and i can't believe people, i see a thing of terrorism here because it again a feeling that hey, you have to deal with our practice who you putting in uniform bands is a problem and sometimes like money in play tricks and people mind, they think they go bad, knows what he's out the door. very bad. johns are coming. good news. yep. job security because the world desperately needs with a un, sorry, did the united states talking about jamie ross talking about press freedom. if you gonna talk the tool, you're gonna want to go. in other words, she's got to be consistent. you can start over on the one hand we believe in press freedom. but on the other hand, we're going to exclude julian. massage, i think is your property on the united states use. tracy's really makes a little bit really mad about the caching turning here in australia where they just don't understand them. right. what is the starting citizen which comes down the power ah ah the so called enhanced interrogation techniques used by the u. s. officials were basically designed as techniques to break down the human mind. if you force a human being to stay in a certain position doesn't take very long to the pain involved to become absolutely excruciating. but nobody lean finger on you. you are doing it to yourself. and we started adopting those techniques when i was stationed in mosul. among them were stress positions, sleep deprivation. a hypothermia is already beginning to be evidence that these old techniques are now being used on immigrants. and then children, whatever you do or more comes home, nobody has been held accountable for the torture that happened in the past. and the moral authority, the made america leader sacrifice for the shimmer of effective interrogation. ah, the wish to win to fall. let's be frank in violation of old international obligations and common sense they chose to escalate this situation. russia reform and if that doesn't hold back during an annual press conference with only one, the topic dominating thought of nato expansion was started a lateral once again, outlining rushes red line with his report, leaving training at least ukrainian special operation teams on us soil install a mid mounting sentence with our tenant super thought no about joe richards. visa is revoked once again by australia, meaning he could face a 3 year entry by thomas docker. he admits the breaking cove. it isolate.

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