via The Dusty Show with Clay Pigeon on WFMU
The babelcast-mosaic is an algorithmic, computer-generated podcast series created from fragmented and distorted sounds of U.S. and World leaders. Juxtaposed and mixed with dynamic noise textures, the resulting ambient soundscape offers a unique musical perspective on mass media, language, and current events. This enhanced version adds algorithmically selected and manipulated still images. Each edition is built exclusively from sounds and images harvested within a defined period of days.
Critical Gap In In telligence:
It depends on what your definition of Isis...
Etemenanki (Sumerian: “temple of the foundation of heaven and earth”) was the name of a ziggurat dedicated to Marduk in the city of Babylon. It was famously rebuilt by the 6th century BC Neo-Babylonian dynasty rulers Nabopolassar and Nebuchadnezzar II. According to modern scholars such as Stephen L. Harris, the biblical story of the Tower of Babel was likely influenced by Etemenanki during the Babylonian captivity of the Hebrews.
Nebuchadnezzar wrote that the original tower had been built in antiquity: “A former king built the Temple of the Seven Lights of the Earth, but he did not complete its head. Since a remote time, people had abandoned it, without order expressing their words. Since that time earthquakes and lightning had dispersed its sun-dried clay; the bricks of the casing had split, and the earth of the interior had been scattered in heaps.”
The Greek historian Herodotus (440 BC) later wrote of this ziggurat, which he called the “Temple of Zeus Belus”, giving an account of its vast dimensions.
The already decayed Great Ziggurat of Babylon was finally destroyed by Alexander the Great in an attempt to rebuild it. He managed to move the tiles of the tower to another location, but his death stopped the reconstruction. Since then only the base remains, but it is visible from Google Earth, which places its location at 32.5362583°N 44.4208252°E just south of Baghdad.
Facts & Arguments Podcast
via Globe and Mail
As a teen, I had a dark secret. One hidden from relatives, friends, even my diary.
When there were rumours of another kid engaged in the same activity, I would shake my head and divert suspicion by snickering loudly. It would be years before I confessed: I wrote poetry.
As it turns out, I wasn’t alone. Many Canadians have been afflicted with this condition. For most, it clears up before something gets published. Others are not so fortunate.
It is, after all, a complete waste of time that’s distinguished by the fact that it has no audience, at least in this country. The only people who attend poetry readings are dutiful friends, perplexed relatives and sometimes other poets looking for assurance their work is better.
At the launch of my first book, there was no one I didn’t recognize. At the launch of my second, there actually were. After a flicker of excitement, I realized that was only because a book of 100 poems about the numbers from 1 to 100 was so idiosyncratically perverse, it had drawn the curious.
If the Canada Council for the Arts was serious about supporting this dubious art form, it would stop funding poets. Being addicted, they will write poetry anyway. The money should be used to subsidize people to attend readings and create what poetry really needs: an audience.
My most serious attempt at kicking the habit occurred in my early 20s. I was working on a master’s degree in astronomy a bad choice, it turns out, since it’s the most dangerously poetic of the sciences. I would frequently catch myself doodling couplets between the nuclear reaction equations of stellar interiors.
I wanted to stop but nothing worked. So I decided to try the harm-reduction approach and switched to something less damaging.
I chose the novel. There are many examples in Canada of poets breaking their addiction by turning to fiction and becoming well-known in the process. Some even made money.
For a while it appeared that might work. My novel, Before the Flood, did relatively well, and even snatched a Books in Canada First Novel Award. A recovering poet now, I began a follow-up novel. It looked as if I had finally shaken the metrical monkey off my back.
But one afternoon, lulled by good weather, I dropped my guard and slipped into a bookstore unaccompanied. Sunlight through the stained-glass windows glistened on the newly waxed floor of the poetry section. Chamber music floated from the speakers. The pages of an opened book rustled seductively on an otherwise vacant armchair.
Like the alcoholic who thinks he can handle one drink, I picked up the book and sat. It was a collection of sonnets by a writer whose approach was to start on unpromising turf, inhale deeply and go like mad for 14 lines. I was especially drawn to the use of couplets in place of the eight- and six-line clots of the hardcore sonnet.
The couplets reminded me of what I had written to upholster those astrophysical equations. I began to compose my own 14-liners that usually had astronomical themes. It appeared my affliction, only in remission, had metastasized into a full-blown obsession with the celestial sonnet.
Still, I kept trying. I would lock the unfinished manuscript in a drawer for months at a time. I would refuse to read anything not in paragraphs. I boycotted bookstores. But my idea, like the universe, kept expanding. It became a plan for a sequence of 88 sonnets, each based on one of the 88 constellations.
Distressed, overwhelmed, resigned to my fate, I joined a university writing group. The experience was more like AA meetings adjourned to the pub, where confessions and drunken suggestions poured out.
Fuelled, in part, by the boozy opinion a book like mine needed doing, I continued. Academic poets come from the humanities, never the sciences, and write for each other. Personal poets tend to mine their own angst, which requires more digging inward than looking up. So the cosmos, as subject and imagery source, was largely untapped.
I couldn’t ignore that the shape of the sonnet made it the perfect craft from which to explore. I even anchored each sonnet to a star diagram printed by the title like a fingerprint. This way the reader (should there be one) would know every constellation is legitimate and not some private hallucination.
Sky Atlas is finished now, published, out of my system. My physician has pronounced me poetry-free. I’ve gained weight, thrown out every book not written in prose and changed my e-mail address so workshop friends can’t contact me. I’ve re-entered a monogamous relationship with my next novel. If ever again, on a slow afternoon, I find myself in the perilous vicinity of a poetry aisle, I’m sure I’ll walk right by.
Alan R. Wilson lives in Victoria.
Illustration by Jason Logan.