The Logo

c3 Logo

The c3 logo was created after a powerful visualization exercise experienced by the founding group and led by Roberto Blain when asked what the vision of the organization looked like.  Aritst Terry Rosson executed the design from the original which was scratched out on a whiteboard.  It was created to symbolically represent the philosophical makeup of the organization, the four wings of activities of the c3 and the inner four the think tank LABS, the c3: VisionLAB, the CreateLAB, the MindLAB and the TechLAB, which in turn makes the entire logo dynamic, describing c3 appropriately as a metaprocess.




The four outer wings respectively represent:

  • Community
  • Events
  • Content
  • Consulting and Education

The four inner wings respectively represent:

  • c3:  VisionLAB
  • c3:  CreateLAB
  • c3:  MindLAB
  • c3:  TechLAB

The four areas are further representative of the elements; water, fire, air and earth, the four-fold human body (physical, emotional, mental, energetic), the four directions and many other perennial symbols and categorizations.

The intersection of these found at the center of the logo can be symbolically represented as “Wisdom” and the “All-Seeing Eye.”


The c3 was officially founded in October of 2004.  Kate McCallum, Founder, and Philip Horvath, Co-Founder, met while attending the UPR University of Philosophical Research in pursuit of Masters Degrees.  Kate in Consciousness Studies, and Philip in Transformational Psychology.  Synchronistically, they were also both employed at Universal Studios at the time.  Upon sharing their mutual visions of the belief in the power of creativity, arts and media to transform, they teamed up to launch the c3.  The first project that the c3 endeavored was partnering with the Southern California Writer Conference to do a specially themed conference on the future of storytelling which they called NEW STORY PARADIGM AND THE FUTURE OF CONTENT.  Thereafter, they produced several events out of the Besant Lodge on Beachwood Canyon in Hollywood, CA facilitated by No’a Winter Lazerus and generously donated by Dr. Stephen Hoeller, a mentor and teacher of Kate McCallum.  In 2006, Philip Horvath moved into the Brewery Artist Colony in Los Angeles and the c3 began to host events out of the loft that Philip leased there.  Kate created an MA program in Transformational Arts and Media as her thesis while pursuing an MA in Consciousness Studies at UPR.  The c3 fulfilled her vision of bringing artists and media makers together with the great teachings of the perennial wisdom and those dedicated to teaching and sharing this important information in a creative setting so as to synergize emergent consciousness through the collaborations that would occur. Kate moved into an adjoining loft at the Brewery in 2008 and together they produced several events in their lofts.  In 2009 The Millennium Project invited Kate McCallum and the c3 to become partners in creating a global Arts and Media Node for The Millennium Project, of which Kate McCallum now serves as Chair.

In 2009, the c3 was awarded a grant worth $5,000 donated by the Annenberg Foundation through the Executive Services Foundation for Board Development .

In 2009, the c3 produced an event at LA Center Studios, located in downtown LA, called “IMERSE IN THE FUTURE:  Arts, Media and Entertainment in the 21st Century” as a fundraiser for the 2010 STATE OF THE ARTS symposium c3 would produce as participants in RING FEST LA 2010.

In 2010, the c3 located their offices and headquarters at LA Center Studios and produced the first STATE OF THE ARTS 2010 in association with the RING FEST LA.

In 2011, the c3 produced STATE OF THE ARTS 2011 PRODUCING CHANGE in partnership with the PGA: Producers Guild of America New Media Council and an invitation only “FutureVision Think Tank” with Jerome Glenn, Executive Director of The Millennium Project.

In July of 2012, the c3: Center for Conscious Creativity was given its official IRS status as a 5019c)(3) non profit organization.

In 2012, the c3 produced STATE OF THE ARTS 2012 AMPLIFY! in partnership with the EMA: Electronic Music Alliance.  During the evening activities of the SOA 2013 they presented in The Vortex Dome a 360 live cinema,”BOLLYDOLL,” with artist Amrita Sen and composer Anthony Marinelli and the world premiere of THE BLUE APPLE, a 360 immersive ballet by famed choreographer and director, Stefan Wenta, with visual artist Audri Phillips.

The BLUE APPLE was produced by a generous $50,000 grant awarded by the Charles Evans Foundation.

STATE OF THE ARTS 2013: THE FUTURE OF FULLDOME took place December 2012 in association with IMERSA.org.  The 2013 FutureVision Award was given to Karim Amad for creating FUTURESTATES.tv.

In 2014, Lotus Post hosted the STATE OF THE ARTS 2014: Mindfulness, Wellbeing and Virtual Worlds and awarded the FutureVision Award to the team that created Mindfulness in the Virtual World — a mindfulness training program supported by Dr. Valerie Rice, Chief of the Army Medical Department.  Working with Mindfulness experts Dr. Steven Hickman and Allan Goldstein from the Center for Mindfulness, UCSD, and Dr. Jacki Morie the team adapted traditional Mindfulness classes to Virtual Worlds so that individuals can attend classes from their homes using a personal avatar.

In December, 2015, the c3 presented: STATE OF THE ARTS 2015:  The Transformational Power of Virtual Reality and the FutureVision Award was given to Nonny de la Peña of the Emblematic Group.

The c3 has also produced several other events and co-productions.  See the EVENT Chronology button for details.


The Florentine Camerata Society

The c3 has been inspired by The Florentine Camerata, a transdisiciplinary group formed during the Renaissance, as an inspirational model for the Center for Conscious Creativity.  The Renaissance, a French term for “rebirth,” resulted in moving humanity from the Middle Ages to the Age of Enlightenment.  Today’s “Re-Renaissance” is bringing us from the 20th Century into the Age of Transformation as some describe this era.”The Florentine Camerata was a group of humanists, musicians, poets and intellectuals in late Renaissance Florence that gathered under the patronage of Count Giovanni de’ Bardi to discuss and guide trends in the arts, especially music and drama. They met mainly from about 1573 until the late 1580s, at the house of Bardi, and their gatherings had the reputation of having what was considered  the most famous men of Florence as frequent guests. Known members of the group besides Bardi included Giulio Caccini, Pietro Strozzi, and Vincenzo Galilei (the father of the astronomer Galileo Galilei).Unifying them was the belief that music had become corrupt, and by returning to the forms and style of the ancient Greeks, the art of music could be improved, and thereby society could be improved as well. They were influenced by Girolamo Mei, the foremost scholar of ancient Greece at the time, who held-among other things-that ancient Greek drama was predominantly sung rather than spoken. While he may have been mistaken, the result was an efflorescence of musical activity unlike anything else at the time, mostly in an attempt to recover the ancient methods.

The criticism of contemporary music by the Camerata centered on the overuse of polyphony, at the expense of intelligibility of the sung text. Ironically, this was the same criticism leveled at polyphony by the Council of Trent which had met in the immediately preceding decades, although the world-view of the two groups could not have been more different. Intrigued by ancient descriptions of the emotional and moral effect of ancient Greek tragedy and comedy, which they presumed to be sung as a single line to a simple instrumental accompaniment, the Camerata proposed creating a new kind of music.

In 1582 Vincenzo Galilei performed a setting, which he composed himself, of Ugolino’s lament from Dante’s Inferno; it was a frank imitation of what he thought to be an ancient Greek type of music (unfortunately, the music for this is lost). Caccini is also  known to have performed several of his own songs which were more or less chanted melodically over a simple chordal accompaniment. The musical style which developed from these early experiments was called monody; it developed, in the 1590s, through the work of composers such as Jacopo Peri, working in conjunction with poet Ottavio Rinuccini, into a vehicle capable of extended dramatic expression. In 1598, Peri and Rinuccini produced Dafne, an entire drama sung in monodic style: this was the first creation of a new form called “opera.” Other composers quickly followed suit, and by the first decade of the seventeenth century the new “music drama” was being widely composed, performed and disseminated. It should be noted that the new form of opera also borrowed from an existing pastoral poetic form called the intermedio, especially for the librettos: it was mainly the musical style that was new.

Of all revolutions in music history, this one was perhaps the most carefully premeditated: it is one of few examples in music, before the twentieth century, of theory preceding practice.

Both Bardi and Galilei left writings expounding their ideas. Bardi wrote the Discorso (1578), a long letter to Giulio Caccini, and Galilei published the Dialogo della musica antica et della moderna (1581-1582).


  • Gustave Reese, Music in the Renaissance. New York, W.W. Norton & Co., 1954. ISBN 0393095304
  • The New Harvard Dictionary of Music, ed. Don Randel. Cambridge, Massachusetts, Harvard University Press, 1986. ISBN 0674615255
  • Article Camerata, in The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie. 20 vol. London, Macmillan Publishers Ltd., 1980. ISBN 1561591742

From WikiPedia