Anechoic
George Foy stayed in the anechoic chamber
for 45 minutes and nearly went mad.
He could hear the blood rushing in
his veins and began to wonder if he was
hallucinating. He had been to a monastery,
an American Indian sweat lodge,
and a nickel mine two kilometers underground.
In the anechoic chamber, the floor’s design
eliminates the sound of footsteps.
NASA trains astronauts in anechoic chambers
to cope with the silence of space.
Without echo, in the quietest place on earth,
what else can we hold onto? What replaces sound
in concert with what you see? The human voice,
the timber when a person says kamsahamnida
or yes, please, or fuerte, is 25 to 35 decibels.
Hearing damage can start around 115 decibels.
Metallica, front row, possible damage
albeit possible love. The Who, 126 decibels.
A Boeing jet, 165 decibels. The whale, low rumble
frequency and all, 188 decibels, can be heard
for hundreds of miles underwater.
I once walked around inside a whale heart,
which is the size of a small car. The sound
was like Brian Doyle’s heart that gave out
at 60 after he wrote my favorite essay
about the joyas voladoras and the humming
bird heart, the whale heart, and the human
heart. Glass can break at 163 decibels.
Hearing is the last sense to leave us.
Some say that upon death, our vision,
our taste, our touch, and our smell
might leave us, but some have been
pronounced dead and by all indication
are, but they can hear. In this moment,
when the doctor pronounces the time
or when the handgun pumps once more,
what light arrives? What sounds, the angels?
The Ultrasonic Weapon is used for crowd
control or to combat riots—as too many
humans gathered in one place for a unified
purpose can threaten the state. The state
permits gatherings if the flag waves. Sound
can be weaponized or made into art.
It can kill. It can heal a wound. It is
a navigation device and can help determine
if the woman has a second heart inside of her
now, the beating heart of a baby on the ultrasound,
a boy or a girl, making a new music in the body
of another body, a chorus, a concert, a hush.
by Lee Herrick
from Scar and Flower
Word Poetry, 2019

About a century ago, a series of giant murals was unveiled in the Palace of Westminster depicting the “
The other day I fixed something—a rarity for me. The flotation device in the toilet water tank was rubbing against the side, getting stuck halfway up so that the tank didn’t fill completely. I own a hammer and know how to operate it. But I couldn’t fit it into the tank to whack the device back into place. Ditto for owning and using a wrench. It wouldn’t fit either. But fortunately I also own a plunger and I used its handle to push the floating thing back the other way, using the side of the tank as a fulcrum. It worked, although the device got bent so that the top of the tank didn’t quite fit. That overwhelmed me, so I called it a good day’s work. I was proud of myself. “There,” I thought smugly. “It’s not just chimps who can use tools.”
Consider the opening shots of the movie Human Desire, directed by Fritz Lang and released by Columbia Pictures in 1954. We see a man on a train. He’s the engineer. He sits at the front of the train, driving it along the tracks. His demeanor is one of comfort and ease. Then we move to another shot. The camera has been positioned at the side of the train looking forward. Another train comes into view moving toward us, on the opposite track. It seems, for a moment, that there is not enough space for the two trains to pass one another safely. A collision is imminent. But then, with a whoosh, the trains pass one another without incident. We’ve all experienced this fear as two trains pass at high speeds. The margin of error is so small. The violence of the rush of air smacking both trains is startling.
I suspect most loyal Mindscape listeners have been exposed to the fact that I’ve written a new book,
Everything was unfolding as it usually does. The academics who gathered in Lisbon this summer for the International Society of Political Psychologists’ annual meeting had been politely listening for four days, nodding along as their peers took to the podium and delivered papers on everything from the explosion in conspiracy theories to the rise of authoritarianism.
Has the behaviour of another person ever made you feel ashamed? Not because they set out to shame you but because they acted so virtuously that it made you feel inadequate by comparison. If so, then it is likely that, at least for a brief moment in time, you felt motivated to improve as a person. Perhaps you found yourself thinking that you should be kinder, tidier, less jealous, more hardworking or just generally better: to live up to your full potential. If the feeling was powerful enough, it might have changed your behaviour for a few minutes, days, weeks, months, years or a lifetime. Such change is the result of a mechanism I shall call ‘moral hydraulics’.
A small clinical study in California has suggested for the first time that it might be possible to reverse the body’s epigenetic clock, which measures a person’s biological age. For one year, nine healthy volunteers took a cocktail of three common drugs — growth hormone and two diabetes medications — and on average shed 2.5 years of their biological ages, measured by analysing marks on a person’s genomes. The participants’ immune systems also showed signs of rejuvenation. The results were a surprise even to the trial organizers — but researchers caution that the findings are preliminary because the trial was small and did not include a control arm.
Power’s book didn’t offer much discussion of failure, of the limitations of intervention, even in places where it was unclear that American efforts could have succeeded. In Rwanda, which is often cited as an example of U.S. inaction, most of the killing was done so swiftly—eight hundred thousand people in three months—that it’s hard to imagine the American bureaucracy and military orchestrating a response quickly enough to make a difference, and then staying around long enough to insure that violence didn’t recur. But in 2002 the notion that America could police the world didn’t seem so far-fetched. nato had recently taken on three new members. China’s economy was a tenth of its present size. The World Trade Center had been destroyed, but the U.S. had toppled the Taliban government in Afghanistan. The invasion of Iraq was still a year away.
So what is to be done? What might seem like an esoteric crisis in Augustinian scholarship suddenly reflects a crisis about how we think, and how that thinking might give rise to a whole host of other predicaments. In which case, perhaps the resolution of one can aid us in resolving the other. In Augustine’s case, Kenyon argues that we should approach him in a holistic way and cease strip-mining his work for this or that argument or literary trope. We should especially not get bogged down in attempts to historically recreate Augustine’s psyche, but turn to the “overarching arguments and rhetorical strategy instead of individual passages” and “prefer interpretations that make sense of a text as a whole.” What we find, Kenyon avers, are “works centrally concerned with the practice of inquiry. When it comes to finding guidance, the dialogues look foremost to the act of inquiry itself: the fact that we can inquire at all tells us various things about ourselves.” The direction has shifted: what might it look like to view Augustine’s dialogues, and the nature of dialoguing in general, in terms of pedagogy and not in terms of content, as journeys of self-discovery instead of didactic treatises?
In the middle of the 1420s, a Dominican friar painted an altarpiece for his convent, San Domenico in Fiesole, Florence, showing the Christian story of the Annunciation. Fra Giovanni, now known as Fra Angelico, was a professional artist who had opted for monastic life largely for the freedom it gave him to paint. The altarpiece, recently restored by the Prado Museum, Madrid, where it has resided since the nineteenth century, hangs at the centre of an exhibition at the museum showing how Angelico took this freedom and created a new type of painting.
On its glittering surface, America’s corporate economy appears to be in fantastic shape. The stock markets recently reached record highs, even if they dipped and bobbed after reaching those heights. Profits are soaring. Financing is cheap. The corporate tax rate has been cut. The unemployment rate is near a fifty-year low, with little inflation.
Bob Marra
“I think I can safely say that nobody really understands quantum mechanics,” observed the physicist and Nobel laureate Richard Feynman. That’s not surprising, as far as it goes. Science makes progress by confronting our lack of understanding, and quantum mechanics has a reputation for being especially mysterious.
The sleek blue-glass building of the Infosys corporation sits like an intruding spaceship amid the unpaved side streets and half-completed residential structures that surround it. Its giant porthole windows offer a peek into a Jetsons-esque world of workers gliding between floors on elevated moving sidewalks. For now, 19-year-old Nishank Nachappaa toils in the shadows of Infosys and the other high-tech companies that, like him, call the Electronic City section of Bangalore home. The high school graduate helps out at two dormitories for tech workers – one for young men, the other for young women – that his parents manage. His father maintains the buildings and his mother prepares meals for the 120 male and 30 female residents. Walk a block or two from the dorms and other corporate structures loom with multinational names such as Emerson and Yokogawa, Altametrics and Hewlett Packard.