WATERING THE FIELDS OF HUMANITY

May 1, 2013

DOCUMENTARY:WATERING THE FIELDS OF HUMANITY  

OUTLINE  BY  LIZ GREENWELL

 

 

The documentation of my story can be structured around three important places and stages in my life:

Kilkenny Ireland; London and New Zealand; and the three designs that encapsulate the philosophy and essence underpinning my work for humanity.

 

Designs-Sparkling Blue/Green Ball; No Chance to Paint the Canvas (cover design) and the Peace Canvas.

 

SUMMARY OF OUTLINE:

 

INTRODUCTION

 

 STAGE ONE: KILKENNY, IRELAND AND LONDON-THE SPARKLING BLUE-GREEN BALL

 

STAGE TWO: NEW ZEALAND AND NO CHANCE TO PAINT THE CANVAS  

 

DESCRIPTION OF DESIGNS:

·       Recurring dream of a sparkling blue/green ball.

·       No Chance to Paint the Canvas Cover Design- World on Canvas on an Easel .

·       The Peace Canvas (2001)

 

STAGE THREE: PRESENTATION OF THE PEACE CANVAS AND MY WORK TO THE WORLD.

 

CONCLUSION

 

 

 

 

INTRODUCTION

 

For as long as I can remember, I have been profoundly aware of the world around me, man and society and the human condition, all of this has its origins in my having experienced the harsh reality of early childhood poverty, and the effects of that poverty on me as a small child. From this awareness together with my thoughts, ideas, observations and outlook, as well as the drive to make a strong and meaningful contribution to humanity, grew the desire to initiate and create the first project ever about civil society on a global scale.

 

The result of that has been No Chance to Paint the Canvas, and my subsequent writings that followed.

 

STAGE ONE: KILKENNY, IRELAND AND LONDON-THE SPARKLING  BLUE-GREEN BALL

 

As a small girl, growing up in Kilkenny amidst poverty,  I had a recurring dream of a sparkling blue-green ball.

 

I was born in the small, picturesque medieval city of Kilkenny in Ireland, around the time of great change, when the Second World War was ending.

Kilkenny is one of, if not the only remaining, intact medieval cities in the world. With its grand castle, beautiful architecture and shop fronts.

 

There are a number of iconic institutions in America that have their origins in Kilkenny. Amongst them are, The White House, Coca-Cola, and the Californian town of Berkeley, with its famous university, named after Bishop George Berkeley, born in Thomastown Kilkenny.

 

Coca-Cola goes back to a 17th Century family named Chandler from Callan, Kilkenny; and James Hoban, born in Desart Kilkenny, studied architecture in Dublin, immigrated to the USA in 1789 and later won a competition to design the new Presidential Mansion. (Found in my little treasured book I Never Knew That About Ireland by Christopher Winn).

 

Born in Kilkenny, it was also the city that introduced me to two extremes: Living in poverty, yet surrounding by beautiful buildings, houses and shopfronts etc.

 

With this background of early childhood poverty, I know what it feels like to be cold, hungry and without shelter. And to feel the icy cold slabs of an exposed concrete building or ruins next to my shivering cold small body. When the wind was howling, I was both afraid of the building and reliant on it at the same time.

 

Also, I remember when we did have shelter, watching my mother mixing cold dust with water, making shapes, letting them dry, and using them for fuel, to keep us warm because we had no money to buy coal.

She died when I was ten years old, of a poverty-related illness.

While I was cold, hungry and without shelter, my eyes were always searching for and finding all that is beautiful, and I was beginning to build my dreams around the two extremes that surrounded me: Poverty and beauty. Also I gained a spirituality and depth of faith to last a lifetime, from my mother's quiet grace and prayerfulness, in the churches and abbeys we regularly visited throughout Kilkenny. As my mother prayed, my eyes were transfixed on the stained-glass windows.

 

I would try to keep all the colours in my mind for as long as I could. Then outside from my pushchair, I played with the colours and clouds as I painted pictures over the Kilkenny skies. I will always remember feeling very sad, as the colours turned into huge cloud bursts of coloured rain drops, falling and disappearing as they faded away.

At that young age, I was finding a very strong refuge in colour, design, and architecture etc.

In the midst of these surroundings, I had a recurring dream of a beautiful blue-green ball with sparkles. Each night, shelter or no shelter, I would open the door of the ball to a child’s eye view of an ideal world. Those early childhood experiences sowed the seeds that led to the work that I would do in later years for the benefit of all humanity.

 

LONDON

 

From the age of ten years. I grew up in London at a time when London was experiencing social change, in terms of more and more of the world’s people were coming to London. Bringing with them a wonderful and colourful diversity of culture. Alongside this was also the excitement of being a young child, and then teenager, living through the greatest musical era in history.

I was charmed by London’s buzz, colour and excitement; Saturday morning pictures; Charlie Chaplin; street theatre; Speaker’s Corner in Hyde Park. Also there was the music, London markets, shows, fashion, Oxford Street, Carnaby Street, Central London and the tube (London underground rail).

 

My home life was shared with people from India, Egypt, Spain, Italy, Malta, South America, the West Indies, and more. They came from all walks of life, including circus crews, film and stage people. All manner of colour, culture, diversity, joy and respect.

 

 

Being a teenager, growing up in London at that particular time was a priceless experience.  As well as everything else going on, there was the coolest place to be, the Wimpy- an international franchise of trendy, bright attractive food outlets. My local one was a magnet in the High Street, where we all as friends would hang out. As well as being a great place, we went there because it blasted out all the fabulous sounds of the greatest music, evolving thick and fast at that time.

Throughout my childhood and following on through my life, I became an observer of people, faces, places and life itself. I consider myself very fortunate to have experienced this treasure chest of humanity.

A microcosm of civil society on a global scale in action.

 

I drew on all this and more, when embarking on my work to bring countries of the world together for the making of No Chance to Paint the Canvas.

 

Still in my teens,I returned to Ireland for about a year, where I took care of my four small half-sisters and brothers. Then my eldest brother, who was in the Royal Air Force (RAF), persuaded me to join the Women’s RAF, where I became a telephonist and was described as “a quiet, speedy and efficient operator, with a polite and courteous manner”.  

 

While at the RAF, I met and married my husband and we were posted to Singapore, where my son Adam was born. That time of change was following me in that during that time- 1966/67- Singapore was also going through a time of social change.

It was an exciting time to be there. The tiny exotic, colourful and dynamic City State was newly independent. There was an enormous sense of pride in their City State, as they were developing their own identity. It was like there was this Giant Heart, and you were part of its heartbeat.

Singapore was a delightful introduction to Asia and the East, with its exotic fragrance, tastes, sights and sounds, night markets and the dynamics of the interaction between Singaporean, Malay, Indian, Chinese and others.

It is the gateway between East and West, a smart sophisticated highly sought after tourist destination and the dazzling jewel of South East Asia.

 

Then it was back to England in late 1967 and to juggling motherhood, home making and career at a group of hospitals in Coventry, England, where I was highly valued, greatly respected and lavished with gifts upon my leaving to go and live in New Zealand. Amongst these gifts was a silver Lady Godiva on a silver chain, lest I forget about Coventry.

 

STAGE TWO: NEW ZEALAND AND NO CHANCE TO PAINT THE CANVAS  

 

In December 1974, we emigrated as a young family to New Zealand, where we lived in Wellington. While there, I worked in Wellington Hospital Cardiology Department, where I was given the task of bringing order to a chaotic and extremely busy office, catering for a high number of clinics per week. Within six weeks I developed a system that streamlined everything, so that all clinics ran smoothly and stress levels were greatly reduced.

We bought a home in Paraparaumu and my resignation at Wellington Hospital was received with regret.

 

Whilst at Paraparaumu, I was employed at a large and busy pharmacy where I enjoyed a pleasant and successful workplace experience.

Then came the opportunity to own and operate an international Wimpy outlet in Palmerston North. When I was a teenager, enjoying my favourite place, I never thought that at some stage I would own one. We ran a very successful restaurant, winning much acclaim. The  UK- based Chief Executive of United Biscuits, who owned  Wimpy International, when visiting our restaurant in  New Zealand, was very complimentary, having been very pleased with the running of the Palmerston North outlet, and went on to say that I was an asset, not only to this restaurant, but to the entire international organization.

 

Life-long battles with my health did not stop me from doing what I wanted to do. The most serious of these battles began in 1977, when I suffered the trauma of having to fight for my life, due to an allergy, it was discovered, after being given a particular medication. I was not expected to live and surprised the doctors at Wellington Hospital. In the space of 1977 to 1982, I had suffered two near-death experiences, several major operations, and renal dialysis, and as a result had to stop work for a time. While I survived all of that, my marriage did not. And in 1983, I had to face a new challenge. I was on my own; on dialysis, had my teenage son to care for; and the knowledge that if a transplant became available I would have to be strong and face that as well.

 

The separation impacted me greatly and circumstances, difficulties, struggles and emotions arising from it were significant.

The experience took its place, in the patterns of my thinking, and outlook on life, along with the other experiences, events, circumstances and observations along the way. It was at this time that I started to formulate my philosophy.

 

My priority was to hold onto my positive attitude, my love of life, and my belief in humanity. And be here to continue the rock-solid love, support, encouragement and guidance, I had and will always have, for my son Adam. As well as protecting him as much as possible in seeing him though those difficult times, including seeing him through school.

 

I determined at that time, that we would, as a small family on our own, half a world away from our extended family, move on to greater and better things.

After two and a half years of dialysis, in 1985 I received a kidney transplant.

I will always be so very grateful for that second chance in life. With two near-death experiences prior, I suppose this was my third chance.

 

Following those early childhood experiences in my life in Kilkenny, whether it has been growing up in London, going to Singapore, back to England, or living in New Zealand, and in fact throughout the journey of my life, I have along the way, been storing those observations of life, living, faces and places; and the variations of standards of living and quality of life. Through it all, I was building on my outlook and philosophy.

 

The incredible struggles I was having with my health, I put down to the deprivations and poverty of my early childhood. Made even more difficult by the fact that I was of very small and tiny frame.

I determined now that my poor start in life was a mix of a World War, even though Ireland was neutral, the effects would be felt. Ireland’s back history of poverty, the socioeconomics that surrounded me, and the fallout from all of it.

 

My philosophy was really starting to kick in now, and I began to see things in terms of those two extremes that have been with us down through our history-peace in the shadows of endless war, and endless poverty surrounded by plenty.

I began to look at natural disasters and man-made disasters. I decided that natural disasters were enough onslaughts on humanity to deal with, and we needed each other to pull us through.

 

War is a man-made disaster, that has a devastating effect on humanity on the broad-scale, including socially and economically.

 

Then I saw poverty in the same way. Poverty, brought about by natural disaster; again is more than enough for humanity to deal with, and again we need each other to pull us through. Natural disaster strikes anytime, anywhere.

Man-made poverty comes from war, crime, corruption, avaricious greed, malice, a predatory nature etc,etc.

Again, the astronomical fallout from that on the broad-scale, socially and economically, is devastating.

 

 

After six months recovery, as soon as I could put one foot in front of the other, without pain, I went to the Labour Department as it was then known, and said “I do not need this Sickness Benefit” any longer and wanted to get back to work as soon as possible.

The clerk dealing with me was most impressed with my work history in communication, hospitals, pharmacy and hospitality. It was noted that I had an empathy with all people, was reliable, efficient, and had a calming, compassionate and caring nature.

The clerk was also impressed with my fight back from such incredible odds.

It was felt that a position at the Department of Social Welfare would be ideal, and I was given an interview. I got the job and progressed to Senior Officer/Divisional Officer.

 

That social change was still following me around.

 

While I was at Social Welfare, from the mid 1980’s until the early 1990’s, New Zealand went through a period of great social change, and I was at the coal-face of dealing with people from all walks of life, backgrounds and professions, who were affected by massive job losses. Some were so traumatized they were reduced to tears. It was a time when every skill, sensitivity, and work knowledge was needed in order to assist people through that period.

 

In 1988, whilst still at Social Welfare, I put forward

to the local Member of Parliament, a comprehensive paper with suggestions and ideas to motivate the nation to work together to create a sound economy including countless suggestions thoughts and ideas on matters of tourism, architecture, prosperity, quality of life, amenities and services, leisure activities etc for people of all age groups throughout the community and the nation. An expert on architecture visiting New Zealand 18 years later, speaking on the subject of architecture in New Zealand was making suggestions on the same lines I had put forward in my paper of 1988.

 

By that time, I felt a merging of spirituality, philosophy, and creativity, and began working on projects relating to the global issues that were ever present in my thinking as well as national affairs.

Around the same time, I conceived two programmes that I felt would be of  benefit on the broad scale to all people - World Resource Analysis Point (WRAP) and World Major Disaster Rescue and Relief Center (WMDRRC).

 

From 1988, I began working on designs with messages. It was now 1992, and I had put my son through university. I decided to leave Social Welfare and follow my dream to work towards a better world and society for all people.

I started writing poetry and by the time I wrote the poem “If Babies Could Speak” late 1992 – early 1993, I knew I was close to something that was going to lead me towards my heart felt vision and dream. Following that, I wrote a short story entitled “Lara’s Dream”. In the meantime, I was assisting my son in the production of his music projects and a book.

 

 

Then in April 1994 the poem “No Chance to Paint the Canvas” just tumbled out. I knew the moment I wrote it that this was the one piece of writing I was waiting for, and I had great plans for it. I was not free to start work on it right away however, because I was assisting with the production of my son Adam’s music album, which was completed in 1998. In my downtime early in 1999, I began a children’s story, Raoul the Little Red Panda, but had to put it aside to start work on No Chance to Paint the Canvas, but did complete the story in May 2003.

 With my thoughts on the new millennium and my particular outlook and philosophy, I felt that there could not be a better time to take a work of this nature to the world.

In November 1999, I was ready to start work on “No Chance to Paint the Canvas.”

With the merging of spirituality, philosophy and creativity, I prepared to especially craft my work in an artistic, anthropological, loving and impartial manner.

 

Driven by a sense of justice, fairness, and that life-long desire to see a better world and society for all people, and to make a strong a meaningful contribution to humanity, I reached out and brought many countries of the world together, to commit to film what I see as a continuous thread in history's two extremes: Peace in the shadows of endless war, and endless poverty surrounded by plenty.

 I  wanted to highlight the sense of grace, dignity, and beauty of humanity and the world, alongside the brutality and destruction of war, poverty, crime, corruption, malice and the inappropriate use of money, power and position etc. And how all of that is a devastating intruder on the civility, peace, and tranquillity that is essential for optimum health, safety and quality of life.

 

Because this is a global project, and my ultimate goal is to reach people from all corners of the world, I knew I would have to begin bringing people together right from the start, and to keep expanding, building on and developing that through every stage of the work.

I began by finding people from various countries, backgrounds and professions to each recite a verse of the poem. These people were found both locally and nationally here in New Zealand, by myself and with the help of my son Adam, who is promotions manager of the project.

Once that was complete, the work began on a seven-track CD. This process took a year, and again the inclusion of people from various countries and backgrounds continued.

 

The next stage was the film. I have documented the making of No Chance to Paint the Canvas throughout my various writings, some of which are on the Internet.

 

But what it amounts to is this:

 

To project what I had in mind, I knew that I would need images of colour, culture, lifestyles, diversity, the human condition in all its many forms, together with a broad look at the world's environment in equal measure.

This meant contacting countries all around the globe.

I wanted to include as much footage as possible of humanity and the world. Everything from the sky to the sea, under the sea, and everything in between, as well as scenes of war.

 

In making No Chance to Paint the Canvas, I reached out far and wide, including China and India. I gave a brief outline of my plans to take this work to the world and included the poem and a description of the type of footage I was looking for.

 

NO CHANCE TO PAINT THE CANVAS generated a huge spirit of cooperation, generosity,and goodwill. The response was overwhelming: A total of 28 hours of footage and

stills was finally received from around the world. After weeks of long hours of work, I reduced it down to 6 hours. I then began the labour intensive process of film making.

Deeply committed to it, I enjoyed the creative process immensely. The need for skill, precision, and attention to detail grew with the film, as I applied a sifting-for-gold work ethic.

There was a moment in the production, when I felt the film take on its own heart and give me back mine. It was as if it was saying “you can relax now, I've got it.” The film will always have

a piece of my heart in it.

Work continued as all the elements came together beautifully, and the film became its own unique work of art. This took me to the first week of September 2001. I then booked into a digital media company to have it transferred to digital video. Over several appointments, I sat in with the technicians to ensure that everything was as I had designed it. And that the speed,

timing and other technicalities married up with mine. The same applied to my graphic designs. I was pleased with the overall team effort, we built up a good rapport, and the film was completed in December 2001.

With no formal training in film making, I had made the world's first ever film about civil society on a global scale.

 

I have encrusted the film with dazzling jewels of humanity and the environment worldwide, in my endeavours to reach you. So whether you are a major construction worker on the Three

Gorges Dam Project in China, or modelling beautiful silks in Rome; a deep sea diver or a sparkling bride and groom from India; a celebrity or someone clearing up rubble in a war zone. An ecologist from Italy or stunningly dressed Chinese dancers who can neither hear or speak, yet have perfected their steps, timing, and precision from the vibrations of their feet touching the floor. A small example of the images, from the huge representation of humanity and the world which I have depicted in this film.

 

Whoever you are, wherever you are, whatever your background or profession, No Chance to Paint the Canvas has been made for you.

 

 

 

 

 

DESCRIPTION OF DESIGNS:

 

·       Recurring dream of a sparkling blue/green ball.

 

The story of No Chance to Paint the Canvas started with that sparkling blue/green ball. While I was cold, hungry and without shelter, I was building my dreams within it. Each night I would open the door to a child’s-eye view of a perfect world. Those dreams followed me through my life’s journey.

Too young to realize it at the time, but as an adult, I knew that that sparkling blue/green ball was the world and I was seeing it in a unique way.

 

·   No Chance to Paint the Canvas Cover Design- World on Canvas on an Easel .

 

 I developed this design, which has its origins in the sparkling blue/green ball as a result of my work  of 1980’s, 1990’s  2000, 2001. In outlining the world and leaving the countries/continents blank, I was emphasizing that babies and children, as well as adults, who lost their innocent lives, through war and other unnecessary means, did not have a chance to paint the canvas-We do

(Please see design explanation notes on the Internet re this).

 

The achievement of civil society on a global scale is my life, my dream, my vision and my aim.

To be instrumental in the achievement of that very desirable goal, I have, as a private citizen, made No Chance to Paint the Canvas, the first ever film about civil society on a global scale, and followed that up with copious writings pertaining to the nature, purpose, history and philosophy behind my work.

 

No Chance to Paint the Canvas is the culmination of a long-held desire to make a strong and meaningful contribution to humanity. Through my work and this design, and the connecting of all of points through  this  journey , I have demonstrated that I have not only thought about a better world and society, I have done something about it with my chance to paint the canvas.

 

·       The Peace Canvas (2001)

 

The Peace Canvas is a progression  from the sparkling blue/green ball and the No Chance to Paint the Canvas cover design.

It encapsulates the essence, meaning and purpose behind my work. And pulls together all the strands of that life-long vision, dream, story and journey that began with that sparkling blue/green ball.

In inserting the peace canvas into the film No Chance to Paint the Canvas, I was, through the film, the philosophy behind it, and that powerful design, seeking to highlight history’s two extremes, peace in the shadows of endless war and endless poverty surrounded by plenty. And at the same time, to capture a moment in history  to  call on the world to change the way we think, and open up to the notion of cooperation, hospitality and exchange, in place of hostility, fighting and war; and to fast track our way to a better world and society.

Having experienced poverty as a child, I have, along the way, made the link between the two extremes that have affected me so profoundly, poverty in the middle of a beautiful historic city and  in doing so, I related that to the two extremes that are at the heart of what has been adversely affecting humanity since time began: Peace in the shadows of endless war and endless poverty surrounded by plenty.

 

“Can we, all of us together, water the fields of humanity, and bring about a harvest so great that it will take the world to pick the fruit; a harvest that is civil society? I think we can”. ( Liz Greenwell, April 1994).

 

 

STAGE THREE: PRESENTATION OF THE PEACE

CANVAS AND MY WORK TO THE WORLD.

 

 I coined the phrase "civil society on a global scale", because I felt that it best describes my work. I would briefly describe civil society on a global scale as highly developed societies and cultures around the world where all people enjoy the benefits of a high standard of living, health, and quality of life. And that those societies on a global scale be safe, compassionate, kind, caring, polite, courteous, and respectful. Along with other strong and attractive virtues like trust, honesty, tolerance, and understanding. I believe that humanity and the environment are linked and as such, civil society is enhanced if the environment is developed to a point where it provides a healthy, therapeutic, and pleasing place in which the world's people, other life forms, and plant life co-exist. Then I feel we have the perfect balance.

 

 

I have indicated to various professionals in many avenues around the world, in the course of my writings; my intention to work with people of fine minds and expertise, to prepare education packages.

 

Education packages that encourage young people to embrace the notion that they hold within their grasp the key, along with all others, to building a better world and society for all people. And  to be pioneers of new initiatives and visions that lead to greater global understanding and peace, throughout the world.

 

It has always been my feeling, that because of the extent, nature and scope of this work, and my life-long devotion to it; and in taking the work to the next level; that at some stage I am going to need to consider presenting my work to the Vatican and to the United Nations. In January of this year I decided to follow up on that.

I designed for my work to be completed to coincide with the New Millennium, and it was. No Chance to Paint the Canvas was written in 1994, the CD music album of the same name was completed and sent to world leaders on June 13 2000, and the film No Chance to Paint the Canvas was completed in 2001.

Philosophy and outlook was advancing and forming in the 1980’s and by the early 1990’s was clearly formulated.

 

 

In looking at the Vatican and the United Nations and where the world is going; I see that my work as a private citizen corresponds to the United Nations Millennium Development Goals, drafted by the World leaders through the UN General Assembly, on September 18 2000, almost three months after my CD production, No Chance to Paint the Canvas, was sent to what was then the leaders of the G8, as well as India and China. 

The United Nations Millennium Declaration Document 2000 set out the Millennium Development Goals. This can be read in its entirety at the following link:

http://www.un.org/millennium/declaration/ares552e.pdf

 

 

Pope Benedict VXI, in his encyclical Caritas in Veritate , Chapter 5: Cooperation of the Human Family, to me, seems to call upon  the United Nations to have more strength to support the world’s most disenfranchised and vulnerable.

 

In addition to  the body of work over the years, I have written up two programmes conceived by me in the 1980’s and included them into my  documentary notes of Jan/Feb 2006. They are designed to benefit and enhance the quality of life for all of humanity.

 

I have named these programmes World Resource Analysis Point (WRAP) and World Major Disaster Rescue and  Relief Centre ( WMDRRC).

They are as follows:

 

WORLD RESOURCE ANALYSIS POINT (WRAP)

 

The establishment of a WORLD RESOURCE ANALYSIS POINT (WRAP), using the best possible technology, set itself up and prepare for the following purposes-

a) Begin work immediately on bringing all underdeveloped countries of the world up to a stage where they are able to participate in world trade, exchange, tourism, etc.

b) To do this , the experts can carry out the usual necessary procedures like testing the soil for its qualities and deficiencies ,and treat accordingly. Then establish each country's assets , liabilities, its needs , and anything else that may be required.

Initially the underdeveloped countries will benefit but, as we progress and bring them into the overall economy, the whole world will benefit.

c) Once this work is complete , a plan can be put in place in the best spirit of Co-operation, Hospitality and Exchange.

 

The plan would be to establish how the world's resources and assets can work to the best advantage in terms of the economy and civility for the benefit of all humanity.

 

d) WRAP's ongoing existence would be to oversee proceedings , chart up information, results, progress, and other necessary data.

 

 

It could also set up a worldwide web to receive comments, suggestions, ideas etc.

With continued environmental development, enhancement and beautification, we will see all countries of the world working together , to create a cleaner, safer, kinder, friendly, welcoming, and more compassionate place in which to live.

This would be preferable and much more desirable than the continuation of living in a world where we are caught up in an environment of crime, corruption, greed and a kill or conquer mentality.

 

If we do not look after each other , we all suffer, but if we do look after each other, we all benefit.

 

Competition in the spirit of goodwill and in the interest of worldwide community , leads to civility and well being.

 

COMMUNITY and CIVILITY ahead of CONQUER.

 

The only power we need is:

The power of ability to influence and shape the lives of people for the good.

The power of an idea.

The power of design.

 

 

SECOND IDEA

 

WORLD MAJOR DISASTER RESCUE AND RELIEF CENTRE (WMDRRC)

 

Human beings are not designed to cope with major and ongoing man made destructive forces. They have enough to deal with already with the normal and accidental occurrences of life. Add to that the suffering and trauma of major global disasters like tsunamis , earthquakes, floods, hurricanes , to name a few.

 

 

The second idea I have is this- (again in the spirit of Co- operation , Hospitality and Exchange)- the setting up of an organisation that we could call a WORLD MAJOR DISASTER RESCUE AND RELIEF CENTRE ( WMDRRC).

 

 

Again using the best possible technology.

 

Its purpose and aim would be to set itself up to be able to respond immediately to a call for assistance from anywhere in the world in the event of a major global disaster.

 

This could be a one point central operation or perhaps depending on expert opinion , there may be a need for one in the Northern Hemisphere and another in the Southern Hemisphere. It would mean selecting a block or blocks of land that would be set aside for WMDRRC .

The usual tests would have to be carried out on the land, including the soil for its richness in all the requirements for food production operations.

 

The area or areas could then be developed to a point where it or they produce food for any kind of global catastrophe including failed crops due to drought or any other reasons.

These areas or area would also stockpile all the necessities required to provide rescue and relief in cases of a large scale global disaster.

 

More localised incidents of a lesser nature could still be handled by local authorities . They too should have efficient plans in place . Assistance to people in cases of need, due to any kind of global disaster, should come from a well organised system and procedure and not be reliant on charity.

Is life less precious than cash? (17 January 2006).

 

The Peace Canvas is a work, as mentioned above, which I designed for my work No Chance to Paint the Canvas. It originated right back to the days of my early childhood poverty. And is absent of any kind of clichéd approach. It is part of an overall work of enormous integrity and seeks to reach out to the world in a quiet, gentle and polite manner, in order to connect with that vital point of unity that is within all of us, that can foster changes and encourage an ability to work together for the benefit of each other. That in turn will lead us to create a better world and society for all of humanity.

 

I am driven by the desire to see a more just and fair world and society that is safe, healthy, kind caring and compassionate. More open, honest and transparent.

There are no dividends or benefits to the good of humanity in war, crime, corruption, greed, malice or predatory actions etc etc. This adversity cannot take hold if enough people refuse to be part of it.

 

Also I want to encourage and champion the individual, and all people, to aim for and work towards the achievement of civil society on a global scale. Part of that drive and passion is the strong belief that we have reached a time in our history when we have to think about this: After a period of thousands of years, whilst we may have made great advances in technology and even put a man on the moon, as well as continued explorations of space and other planets, we have not, as yet, achieved the state of civil society on a global scale here on Earth, and I do believe we can.

 

Civil society on a global scale affects every living being and as such, I believe all of us have a responsibility as individuals to push ourselves beyond our everyday lives and play our vital role in the achievement of that very desirable goal, civil society on a global scale. I feel that it is the most important mission that we face or will ever face, because the immeasurable benefits to all of humanity and the world, our environment, our home, are essential to us for our well-being, quality of life, standard of living, and for our history and culture, for the human kindness of care, concern, love, and compassion for now and for future generations. And for how we progress as human beings, raising our standards, building the kind of unity that sees people working together for the benefit of each other right across the world.

Creating an environment of beauty in the world, beauty in life, and living, encouraging, supporting, and building on the rich sparkle of humanity's wonderful diversity and essential goodness, and the enhancement of global understanding and peace throughout the world.

 

And to highlight the fact that the achievement of civil society on a global scale is a huge task to leave to so few. I believe that individuals are an untapped and undiscovered reservoir of dynamic and fabulous talents and ideas, which are not only valuable to themselves, but also to society as a whole. Creativity is a major asset, it can play a huge part in the solutions and recovery in world affairs. It creates jobs, wealth, prosperity, and helps raise standards of living, and is good for the economy. And if we can get a double bonus from creativity, that is altruistic, and designed to benefit all of humanity, then we really are on our way to the achievement of civil society on a global scale.

That is why I want to inspire the world with No Chance to Paint the Canvas, and the subsequent documentary, Watering the Fields of Humanity.

 

 

CONCLUSION

 

In self-funding, spending many years of unpaid time, effort, devotion, and commitment, in working towards a better world and society for all people; I have as a private citizen, battled through the most incredible odds. In addition to that, I have experienced suppression, misogyny, professional jealousy, the harsh and brutal effects of predators, all in all the kind of inappropriate and unjust treatment that highly paid professionals and politicians would not have to endure. Through all of this, I have not given up.

 

The experience has been at high cost to me spiritually, emotionally, physically and financially.

 

Many people have noted the high price I have paid, for doing a work of such selflessness, giving and altruistic nature.

 

I am aware of the value and global social, educational, economic, creative, and cultural merits of my work. And that I have pushed beyond the stars to raise the bar and set the standards and the benchmark for world affairs.

 

And that my work has been gaining currency around the world over the years.

 

I am owed an enormous debt by so many and so too is my son, who in his support has also been treated badly.

 

However, the pain and hardships we have had to endure, we are both agreed, has to pale into insignificance, when measured against the importance of working towards being instrumental in the achievement of the immeasurable benefits of that very desirable goal, civil society on a global scale.

 

-LIZ GREENWELL 30 September 2011

 

 

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