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In this special episode we interview Denny Vrandečić, project manager for Abstract Wikipedia and Wikifunctions. Read more about Abstract Wikipedia and Wikifunctions on meta. You can subscribe to English episodes through the feed on the English tag. The music and sound clips are from Surf Shimmy Kevin MacLeod (incompetech.com) [CC BY 3.0], via Wikimedia Commons. Image: NGC 54, CC BY-SA 4.0 Discuss the episode on the project’s talk page. The episode is also available on Wikimedia Commons.

John Oswald (Canada, 1953), is one of the leading exponents of sound appropriationism. In the eighties, Oswald coined the term “Plunderphonics” to define his work, which questions issues like…

Big tech companies say we'll need to build more of these sites if we're going to keep living a lot of our lives online.

From left to right: J. C. Cloutier, Michelle Taransky, and Clark Coolidge.

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J. C. Cloutier, Michelle Taransky, and Clark Coolidge joined Al Filreis to talk about the first section (and to some extent also the fourth) of Jack Kerouac’s Old Angel Midnight, a sprawling work of prose poetry in sixty-seven numbered parts consuming forty pages of the Library of America Kerouac: Collected Poems. A recording of Kerouac performing the first page is available here. His model was Joyce’s Finnegans Wake. His initial notes were made during an extended visit to the Lower East Side of Manhattan. Up late, he listened for sounds coming through a tenement window from the court below and tried to make words out of them. Such making is the plot of the book. The effort sometimes results in what Clark Coolidge has famously called “babble flow.” Old Angel Midnight in part is a multivocal interlinguistic record of voices coming from kitchens of the other occupants in nearby apartment buildings, a man coming home drunk, etc., merged with “neologisms, mental associations, puns and wordmixes” and “nonlanguages.”

The PoemTalk group talks a good deal about the specific effects of Kerouac’s efforts to “represent […] the haddalada-babra of babbling world tongues coming in thru my window.” J. C. Cloutier admires the examination of “microbehood” as linguistics and spirituality — indicating, that is to say, both Keraouc’s fascination with languaged sound down to its smallest phonemic bits and a kind of base inner holy septicity. 

J. C. has worked extensively on Kerouac’s French and during this PoemTalk session provides numerous examples of the writer’s unusual usage and speaks persuasively, we think, about the importance of multilingualism to Kerouac’s poetics for Old Angel Midnight. There is inherently a mixing in representations of overheard words. J. C. is the editor of La vie est d’hommage, a collection of Kerouac’s French-language writings published in 2016 by Montreal’s Les éditions du Boréal.

In this episode Clark Coolidge continues his advocacy for Kerouac as properly belonging to the field of experimental poetry and poetics. Back in 1995, in the January/February 1995 issue of American Poetry Review, he wrote about Kerouac’s concept of time implicit in babble flow, as follows:

[S]ound is movement. It interests me that the words “momentary” and “moments” come from the same Latin: “moveo,” to move. Every statement exists in time and vanishes in time, like in alto saxophonist Eric Dolphy’s famous statement about music: “When you hear music, after it’s over it’s gone in the air, you can never capture it again.” That has gradually become more of a positive value to me, because one of the great things about the moment is that if you were there in that moment, you received that moment and there’s an intensity to a moment that can never be gone back to that is somehow more memorable. Like they used to say, “Was you there, Charlie?”

Kerouac said, “Nothing is muddy that runs in time and to laws of time.” And I can’t resist putting next to that my favorite statement by Maurice Blanchot: “One can only write if one arrives at the instant towards which one can only move through space opened up by the movement of writing.” And that’s not a paradox.

The idea of writing time as reaching a moment toward which the writing itself moves is emphasized by Michelle Taransky’s several comments about the non-narrative “story” here of the drunken neighbor (a man seemingly named Sound) arriving home on a Friday evening. As in “October in the Railroad Earth” and other experimental writings, Kerouac returns again and again to the liminality of the very end of the work week. In “Railroad Earth” it’s this: “… till the time of evening supper in homes of the railroad earth when high in the sky the magic stars ride above …” Here, in another nonsequential sundown telling, the dimly lit liminal present is always in the process of arriving. Our discussion on this point, led by Michelle, aligns with Clark’s main sourcework for conceiving of Kerouac’s improvisatory writing as a function of time — what Nathaniel Mackey and others, when exploring jazz writing, have called “a moment’s notice.”[1]

We also discuss section 4 of Old Angel Midnight during this conversation. Here we are treated to Clark’s performance of it. He and Michael Gizzi, back in 1994, had alternated reading sections of this work and produced a forty-five-minute recording of the whole poem. It is available on both Michael Gizzi’s and Clark Coolidge’s PennSound pages. But bacl then, as it happened, Clark had not been the one to read section four, so now we happily preserve his deeply felt performance of it. This episode of PoemTalk was recorded and also later edited by Zach Carduner. We at PoemTalk are grateful as always to Nathan and Elizabeth Leight for providing an ongoing grant in support of the series. As always, too, we are grateful to the Poetry Foundation for their partnership. 

Click on the image for a larger view of the text. Parts of Old Angel Midnight appeared in 1959 (Big Table), 1964 (Evergreen Review), and 1961 (New Directions in Prose & Poetry). According to Ann Charters introduction, Kerouac was "doodling with an endless automatic writing piece" in 1956, and she claims he was referring to Old Angel Midnight, then titled "Lucien Midnight." Some say that Kerouac refers to the work as early as 1953. Soon after the release of this episode of PoemTalk Gilbert Adair dug out his cherished Bob Cobbing Midnight Press (1985) edition, the first time the whole work was publishe. Below are two images from Gil's copy — the (foxed) cover and opening page with publication information.

1. See Art Lange and Nathaniel Mackey, eds., Moment’s Notice: Jazz in Poetry and Prose (Minneapolis: Coffee House Press, 1993).

Post-doom conversation between Shaun Chamberlin and host Michael Dowd, recorded August 2019. Each of the 2 parts of this conversation is 45 minutes long,. Overall theme is "What story do you want your life to tell?" Linked timecodes of topics:

00:09 What story do you want your life to tell?

00:18 Preview 1: Grief

01:00 Preview 2: Living in a dying world

02:46 Preview 3: Find a Peer Group

03:43 Dowd (MD) summarizes Shaun's key contributions

04:18 Chamberlin (SC) adds to summary of his biography (incl Extinction Rebellion arrest)

05:37 SC: Shaun's August 2019 blogpost: "Humanity: Not Just a Virus with Shoes"

07:14 SC: "Make hope possible, rather than despair convincing," says Ray Williams

07:45 SC: Schism between those who focus on determinism v. choice (cultural evolution)

08:22 MD: Importance of bridging seemingly divergent perspectives

08:54 SC: 2013 blogpost - "The secret truth behind environmentalists' favorite argument"

10:33 SC: Dark Mountain Project "creates a space where we can ask those questions"

10:48 MD: Hope is not neutral; some hopes are "overshoot-prone" and thus "anti-future"

11:50 MD: Importance of ecocentric books by Edward Goldsmith and William Catton

14:37 SC: Evolution is not human-centric; implications for where to ground "hope"

17:01 SC: Grief. "It hurts to let go of the stories we've been told.... The space between stories is one of the most awkward and painful places, because you don't have anything to make sense of life with."

17:30 SC: Personal story of emotional turmoil from two near-simultaneous deaths

20:10 SC: David Fleming's death led to SC editing his works into published books

21:33 SC: Personal and existential grief can lead to healthy forms of post-doom hope

22:57 SC: "When I could actually accept, 'Okay, I don't think I can change this; we're headed into the collapse scenario,' once you step beyond that threshold and accept that, a huge amount of energy is liberated. The hope beyond hope is actually stronger than the original hope because it's no longer really attached to outcomes. It's just about telling a story with our lives that we're proud to tell — in the context that we find ourselves."

25:40 SC: Resilient motivation; overcoming burnout; joy becoming one's guide to action

27:02 MD: Generations born into story of progress now need post-doom guidance/emotions

27:59 MD: Sense of doom is emotional midpoint between avoidance and returning to joy

28:28 MD: Paul Chefurka: "Finding the gift" beyond despair and mere acceptance

29:17 MD: Terminology - apocaloptimism, post-doom, civilizational reboot, Homo colossus

30:18 SC: Terms preferred: "dark optimism" (title of his blog) + David Fleming's "climacteric"

30:51 SC: James Howard Kunstler's term of the great global "clusterfuck" (dark humor)

31:04 SC: Interpretations matter as in "choosing to be alive at this time"; joy as guide

32:12 SC: After despair, coming back to life is through the stages of grief

33:08 SC: "We can still tell beautiful stories with our lives."

33:34 SC: Dark optimism is acknowledging the darkness yet living fully, meaningfully

34:06 SC: The apocalypse is ongoing for most peoples of the world; shrinking affluence

35:23 SC: Horror of species extinctions: "the death of birth"

35:44 MD: recommends "The Dark Mountain Manifesto" Paul Kingsnorth, Dougald Hine

36:17 MD: Crucial what stories we tell with our lives and our chosen narratives of reality

36:31 MD: Reframing the Christian story; e.g., the Fall as "violating grace limits"

37:09 MD: Indigenous wisdom in making the future one's guiding principle

37:31 MD: Reinterpret the Trinity, deify Time: Creator=Past, Christ=Future, Spirit=Present

38:06 SC: Environmentalism shortcoming is can be too preachy; guilt and self-sacrifice

39:42 SC: His personal story of choosing whether and when to use airline travel

41:44 MD: Importance of having a larger sense of self in time and space

42:28 MD: Recites a Joanna Macy quote re importance of a larger sense of self

43:29 MD: "Pro-future" is good, godly; labelling anti-future as "evil" is appropriate too

44:04 MD: Arne Naess - responsibility is a treacherous basis for conservation; need love

44:27 MD: This "post-doom conversation series" emphasizes one's personal journey.

CONTINUE TO PART 2 for Shaun Chamberlin's story of his personal journey.

https://youtu.be/njglhRhGgKc

Shaun's website: http://www.darkoptimism.org/

The global 'Surviving the Future' community he facilitates online: https://www.ce.sterlingcollege.edu/surviving-the-future

Gift-economy pub 'The Happy Pig', his home in Ireland: https://mstdn.social/@DarkOptimism/109410285273214948

Free access to David Fleming's book, Lean Logic, in custom fan-built web format: https://leanlogic.online

I've compiled all the talking that occurs in between sets of songs on the new episode of 'The Watt from Pedro Show' with guest Liz Harris -- december 2021.

Source: https://www.twfps.com/past-episodes/on-air-guest-liz-harris-from-los-angeles-ca-via-skype

We were lucky to catch one of her shows in Australia a few months back and the hectic schedule she was keeping was apparent – the crew she’d been travelling with had just made it from Newcastle in time for the show, and in the short time before preparing for her performance she was kind enough to take a few moments to chat to Fluid.

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In this episode, Scott Orr sits down with Harry Towell, the creative force behind Whitelabrecs, to explore the art of running an indie record label with a unique approach. Harry shares the inspiration behind his label’s name and its focus on blending vintage vinyl aesthetics with modern CD formats. From hand-burning early releases to creating beautifully packaged vinyl-style CDs, Harry has built a label that values both music and physical media as collectible art.

Join us as we discuss the challenges of producing physical releases, the resurgence of CDs in the ambient music world, and Harry's philosophy of supporting emerging artists with lower-risk formats. Whether you're an indie label owner or a fan of boutique music production, this episode is packed with insights on blending creativity, commerce, and community in the indie label scene.

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http://geni.us/infinitecatalog

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A dialogue between Bernard Geoghegan and Jussi Parikka. Two critical authors will discuss their new books.

Join us for a book talk about GOVERNABLE SPACES with author NATHAN SCHNEIDER. Discover how we can transform digital spaces into more democratic and creative...