My History With Parrots. 
People often ask how did I get into parrots
OPENED Garden  in 1993
Because I had a large green space people offered me their unwanted animals.I was offered moneys , 
mynah birds, parrots, turtles, snakes and iguanas. I said no to all because I do not believe in the exotic 
animal trade. I do not believe in capturing animals in the wild or breeding them in captivity to sell for
 money. I said no because I did not want to become a zoo and I because I believe animals belong in the 
wild. I never wanted a parrot and knew very little about them. I believe parrots should not be caged but
 flying free with their own kind in their countries of origin.The first parrot showed up abandoned in my 
garden in 1993. Someone unknowed to me left a parrot in a cage inside my gate. They succesfully snuck it 
in whan no one was watching. When you get one parrot and everyone sees you have a paarrot a tsunami 
of unwanted partots follows.
A non poffit called Mana Project was formed to save Nancy Forrester’s Secret Garen  the non proffit had 
three programs Greensong Program to save the garden fro developement, Artist in Residence program 
featuering the work of eco-artists, and The I Love Parrots Program supported the gardens orpananed parrots 
and educated the visiting the public on how to stop parrot abuse. 
2008 Went into forclosure Garden.  Parrots became main focus of my work
2012 Lost 3 Lots lots  Life tenancy with Singh  Began teaching Parrot 101 to the public everyday
Feb 2017 Met Lara Joseph of the Animal Behavior Center in Ohio. 
Professional animal trainer, behavior consultant, and ABA practitioner at The Animal Behavior Center. 
I was given the gift of membrship to the The Parrot Project 
Lara owns an international, educational center sharing education on empowering the lives of animals 
and the people that care for them.  Lara live-streams her work showing the use of positive reinforcement 
and applied behavior analysis with animals.
2018 Thru Lara Joseph I met Dr Jason Crean and becme a memberof his Avian Raw Whole Food Nutrician.
Dr Crean is aviculturist and biologist Jason Crean's private group that deals exclusively with raw 
whole food nutrition in the feeding of birds.
2019 I also was introduced to Jennifer Cunha and became a member of My Reading Pets and 
Parrot Kindergarten
Welcome to our private, members-only Parrot Kindergarten group! 
This is a place of nurturing, support, encouragement, and inspiration for parrot caregivers!

 

Nancy teaches PARROT 101 at 10 AM Daily
Interacting with parrots provides a greater understanding of their ecosystems.
Nancy's educational program includes one of each of the eight species of magnificent large
macaw still flying in the wild in Central and South America.

"Babyblue" Hyacinth Macaw the largest macaw and endangered in the wild
"Rachet" Buffons Macaw the second largest macaw and endangered  
"Ara" Blue and Gold Macaw a large macaw,
"Lucy" Scarlet Macaw large a macaw
"Hammerhead" Greenwing Macaw a large macaw
"Skyler" Military Macaw a medium sized macaw
"Idgit" Blue-fronted Macaw a medium sized macaw and endangered (only 50-150 in the wild)g
"Freida"  Red-fronted Macaw the smallest of the large macaws and endangered ).

definition of story telling
Storytelling
Art Dialogue's mission is to build cultural discourse through creativity, research, the public, and experiential learning.

Our vision is to expand the definition of art into the larger cultural context. ArtDialogue does this by fostering creativity and it’s innate connection to the 
natural world; a place where nature and culture meet that is holistic, experiential, and sustainable. We foster a praxis-based, educational environment that grows 
from the natural sciences, philosophy and civil society, the arts, and the systems that organize them. Based on our history with the monumental social and 
political changes in Central Europe in 1989, from whence our organization began, we are committed to the idea that culture "should be a fundamental enabler of sustainability, 
being a source of meaning and energy, a wellspring of creativity and innovation…"

​

We are committed to the idea of culture as ‘soft diplomacy’ which ignites social change. ArtDialogue engages various social groups, across gender, age and nationality.
We work to align ourselves with indigenous and local culture organizations with similar missions, in tune ecologically with sound production and creative practices.
 “Sustainable creativity” , implies a whole person in a healthy environment, an idea that nourishes a potential resource to confront the challenges ahead and create 
solutions to the impending global environmental crisis. ArtDialogue expedites placing culture into sustainable

qualifiable praxi.

​

Our Goals and Objectives:

Open a dialogue on Culture as a key pillar in sustainability through support and alignment with co-operating organizations

Foster creativity in the individual, and to that end social change in recognition of civil society.

Promote sustainable creativity via experiential, environmental education 



connect waste and consumption practices, focusing on plante health.
As part of the SS PaloAlto project, ArtDialogue is created a sustainability driven exhibition and 
interactive event at the site of the Cement Ship at SeaCliff in Santa Cruz. Hosted by CA State Parks 
and UCSC Art & Design Place-making Initiatives, the event will took place on October 26th, 2019., 
and was open to the public.The SS PaloAlto project aims to spark dialogue and curiosity in the community 
about the intersections between sustainability, marine science and the arts. Artists of all ages and backgrounds 
were invited to submit art and science projects that use natural systems and phenomena as a model to rethink human interactions within our environment. 
Which is true about the art of dialogue?
True dialogue is an art form. It’s more than just a chat over coffee, a lengthy email string, or a series of texts. Dialogue is a form of conversation 
where people genuinely try to access different mindsets, ideologies, and perspectives to enable growth.
It was a comment in one of Paul Butzi’s elegant posts The Four Seductions that I said “Art is about communication.” 
That phrasing was a writer’s device. Paul, quoting or perhaps paraphrasing Stephen Dietz said “Art is about craft.” 
I held up a contrary mirror to that statement and used the word “about” again.
Art & Perception a multi-disciplinary dialog
Old grapes, new painting »« What Makes Good Landscapes?
Art and Communication
Posted by Rex Crockett on November 18th, 2006

It was a comment in one of Paul Butzi’s elegant posts The Four Seductions that I said “Art is about communication.”

That phrasing was a writer’s device. Paul, quoting or perhaps paraphrasing Stephen Dietz said “Art is about craft.” 
I held up a contrary mirror to that statement and used the word “about” again. That was an artistic phrasing of a larger idea.

Art is a certain kind of specialized communication. Communication is not necessarily art. Art does not equal communication, but all art is communication. 
In mathematical terms, art is a member of the set of communication. What makes art different and special is that a communication that has value.

People consider a communication art when it has merit, worth or excellence. Perhaps a better word than value would be quality.

This is how people, ordinary everyday people use the word art. Nothing has been invented here. So this is not really a “theory.” It’s an observation of observed phenomena. 
The word “art” is used to describe any communication that can be valued as to excellence.

That’s really a definition for art. The quality of communication.

What is interesting about this way of understanding and analyzing art is the magnitude of predictions and explanations that result. By considering art as an instance in the 
class of communication, we have an organizing principle that can be used to predict, measure, enhance or create art. 
We have a way of helping our own art, and we have a way of helping other artists.

For example, if art is communication, it follows the rules of communication. If it’s too original, it is difficult for people to understand. If it is too unoriginal, 
it is a bore. Too loud and it is irritating. Too quiet and it has no impact. If the subject bears no relationship with the experiences of the perceiver, it is not likely 
to be grasped. If it deals with a subject in a way that is not stimulating, it is not likely to be valued.

Second, we see that we can dismiss binary or two valued logic as applied to art. It is never therefore “art or not art;” rather, it is degree of art. Someone might attempt 
to make the case, “If that’s true, well then everything is art. And that can’t be true.”

(That’s so easy to refute I won’t even bother; rather, I will leave that as an exercise for the reader. Assuming of course that you actually read this.)

However, considering that art is communication and that the term is used to describe a the quality of communication, we do open the field to many expressions 
that have not always been considered art but craft. Craft becomes art when it breaks away from mechanical functionality and begins to “emanate.” One’s personal 
appearance becomes art when it transcends the purely functional. One’s life itself becomes an art form when it becomes something more than mere survival. So it is true 
that art as the quality of communication expands the definition.

Therefore this is not a trivial idea.

As artists, we have heard many debates in our lives about whether this is art or that is art. Is a sunset art? Is graffiti art? Can animals make art?

But the answers to these questions can be found by applying the above criterion. Are you experiencing it as a communication — conveyed information? Do you value it?

Then yes. It is art. For you.

Sure, we have heard “Beauty is in the eye of the beholder.”

But why?

This is not something new. Artists have “always known” this. They have an intuitive grasp of this even when they deny they are trying to communicate, and it shows in their work.

As an an organizing principle, art as a communication of quality predicts that art is not a universal. Sure. We know that. But why? What will be art for one will not 
necessarily be art for another. Why? Because art, as a subset of communication. It succeeds or fails the same ways that communications succeed or fail.

The “artiness” is a matter of opinion because value is a matter of opinion. How much would you pay? Why does a painting appear more valuable in one environment than 
another? Why does promotion work? (Clue: there is a relationship between degree of attention and degree of communication) Elitism itself in art is explained by this 
principle. Because one group can see it is art (or pretends to) they are therefore more capable of perception than the crowd, and therefore superior. What are they doing? 
They saying “This new practice/thing is valuable communication.”

That’s all.

Because I have narrowed the scope of this essay, I do not here treat the relationship between art and technique. But the understanding here can be used to explode that topic.

It could be said, that communication must have intention in order to regarded as “true” communication, but there are several ways to refute that. One, in law, intention 
is an ineffable quality that is difficult or impossible to prove or disprove. Second, intention can be the intention to not have an intention. Third, nowhere in any usual 
dictionary definition is intention required for the word communication to apply. Fourth, the requirement that only sentient beings can communicate is a peculiarly Northern 
European tradition. It is not shared by most of the world, as in Africa or Asia where it is very strongly believed that “inanimate” objects can give and receive communication. 
It is nothing unusual for a Latin to talk to his sword or his pistol. In Japan, there is a tradition of “seeing stones.” They are “emanative” rocks. When discovered, 
usually in rivers, they are highly prized and will receive special places in gardens. Visitors will be taken near them without being told about them as a test of the visitor’s 
sensitivity.

It could also be said that if art is actually defined, then what are we going to talk about?

Art.
John Hillman medicine garden we traded rocks

​Therefore this is not a trivial idea.

As artists, we have heard many debates in our lives about whether this is art or that is art. Is a sunset art? Is graffiti art? Can animals make art?

But the answers to these questions can be found by applying the above criterion. Are you experiencing it as a communication — conveyed information? Do you value it?

Then yes. It is art. For you.

Sure, we have heard “Beauty is in the eye of the beholder.”

But why?

This is not something new. Artists have “always known” this. They have an intuitive grasp of this even when they deny they are trying to communicate, and it shows in their work.

As an an organizing principle, art as a communication of quality predicts that art is not a universal. Sure. We know that. But why? What will be art for one will not 
necessarily be art for another. Why? Because art, as a subset of communication. It succeeds or fails the same ways that communications succeed or fail.

The “artiness” is a matter of opinion because value is a matter of opinion. How much would you pay? Why does a painting appear more valuable in one environment than 
another? Why does promotion work? (Clue: there is a relationship between degree of attention and degree of communication) Elitism itself in art is explained by this 
principle. Because one group can see it is art (or pretends to) they are therefore more capable of perception than the crowd, and therefore superior. What are they doing? 
They saying “This new practice/thing is valuable communication.”

That’s all.

Because I have narrowed the scope of this essay, I do not here treat the relationship between art and technique. But the understanding here can be used to explode that topic.

It could be said, that communication must have intention in order to regarded as “true” communication, but there are several ways to refute that. One, in law, intention 
is an ineffable quality that is difficult or impossible to prove or disprove. Second, intention can be the intention to not have an intention. Third, nowhere in any usual 
dictionary definition is intention required for the word communication to apply. Fourth, the requirement that only sentient beings can communicate is a peculiarly Northern 
European tradition. It is not shared by most of the world, as in Africa or Asia where it is very strongly believed that “inanimate” objects can give and receive communication. 
It is nothing unusual for a Latin to talk to his sword or his pistol. In Japan, there is a tradition of “seeing stones.” They are “emanative” rocks. When discovered, 
usually in rivers, they are highly prized and will receive special places in gardens. Visitors will be taken near them without being told about them as a test of the visitor’s 
sensitivity.

It could also be said that if art is actually defined, then what are we going to talk about?

Art.

Giorgione, The Tempest

To show the possibilities for discourse, I have selected one of my favorite paintings. It was named “The Tempest,” but that came later. No one knows what Giorgione called it. 
He never explained it.

Let’s look at it. People have debated this painting for centuries. Whole books have been written about it. It’s “meaning” has always been a huge mystery.

Who is that guy with the walling stick? Is it a walking stick? Maybe it’s a spear shaft. A phallic object the goes with his exaggerated codpiece as was the style then. 
Is he the painter? Giorgione resembled this man. He is not looking at the woman. He’s looking off… somewhere, and he seems to be thinking. Perhaps he is looking back in time. 
Is he a wanderer? A soldier? There’s a bangage on his leg. Is that significant? And the woman with the child. She looks so vulnerable in her nudity, and yet the way she looks 
out at the viewer is anything but vulnerable. It’s like she’s saying, “You see? This is life.” Or is she? Her look can be construed as accusative. Then there is that divide, 
that watery gulch between the two figures, and the two figures are so differently painted. There is considerable texture to the man, but the woman is more smoothly painted. 
Is that significant? Did he paint these in two different periods? It’s like Giorgione put them together in the picture, but they are really in separate countries. 
Is that symbolic?

Was this autobiographical? Did Giorgione get a girl pregnant then leave her to her fate? That seems to be going on here, but maybe the guy died, and this allegorical. 
Maybe the woman is a friend of the painter and he felt compassion for her difficulty.

Then there is the storm in the background. We know this is Torino, but it’s a fantasy, Romantic Torino. There is a sense of something imminent. Doom? Danger? Change? 
And notice that tippy building behind the man. A world gone askew.

We will never know. Giorgione’s intentions, if he even had any, are not clear. We can only speculate.

What do you think? (There are no wrong answers.)

This painting demonstrates several things. It shows that the artists intentions need not be known for a communication to occur; therefore, artist’s statements of 
intentions are not significant. Indeed, it suggests that an artist would do well to dispense with any vanity on the subject. It suggests that the art that will be 
considered truly great will be the kind of art that is actually completed by the viewer. This is the singularly remarkable characteristic of art that comes down 
through history as truly great. Ambiguity of communication in art is a highly valued characteristic, evidently.

I have completely ignored technique here. That was intentional, but the opportunity for viewer participation (two way communication), when combined with dazzling 
virtuoso skill is a one two knock-out punch combination.

But the reason I picked this painting in particular is that it has historically demonstrates an amazing capacity to stimulate dialog. It shows that what makes art the 
most valuable in the eyes of people throughout the ages is something that generates communication far beyond it’s own time. That is one thing you can say for sure about 
any really famous piece of art.

If ever there was a proof positive that art is about communication, there it is.

Twenty thousand years of art history scream it from the mountain tops. It is writ in letters of fire across the sky.

But I’m afraid I won’t be able to participate in any dialog resulting from this post. I’m taking a long train trip tomorrow, starting before dawn, and as soon as I post this, 
I shall have to pack. Please do not think me rude if I do not respond. I will have a look at again Monday, but until then, I shall be offline.
As one part of the creative process, artists choose their materials, so as to be able to demonstrate their 
craft and express what they wish to express. The selection of materials is an important aspect of the 
design process, as well. When materials and processing techniques are combined, new value is 
created. Having a face-to-face dialogue with materials is an essential part of the process of creating 
objects. At this exhibition, we will offer an introduction to the world of design through four sections that 
will focus on materials ― from wood, to metal, to high-tech materials ― and how they have 
transformed. The sections are called “Art and Materials,” “Innovation and Materials,” “An Introduction 
to Materials,” and “Installations: Bringing Art and Design Together.” Here at the Toyama Prefectural 
Museum of Art and Design, where the building itself embodies the allure of materials such as wood, 
aluminum, and glass, we are creating a place where visitors can have encounters with art and design 
through dialogue with materials.