Eating your Emblems

10 08 2009

777px-Australian_Coat_of_Arms

If you live in, or visit, Australia for any length of time, chances are someone will tell you that it’s the only country to eat an animal from its coat of arms.  Now it’s true that kangaroo steaks and burgers are fairly common in Australian cooking, even if they have yet to challenge beef, pork or chicken for ubiquity, and emus are also farmed for their meat, although it’s even less common.  But, being sceptical by nature, I’ve always wondered whether this little nugget is really true; I mean, Brits don’t eat unicorns or lions, but surely some other national emblems find themselves on the plate every now and then?  So yesterday I finally decided to do some research, this consisting mainly of looking at the Wikipedia page listing national coats of arms, and keeping my eyes out for any edible looking critters.

Before I let you in on my fascinating discoveries, I should probably mention my criteria.  Several coats of arms include plants, but I didn’t count these.  I also tried to limit my search to the supporters of the coat of arms (where they fitted the traditional European design) rather than animals which just appeared on the shield.  Finally, human beings have probably eaten just about every animal on the planet at some point or another, but to make it fair I tried to only count animals eaten with some regularity, which includes, surprisingly, armadillos and zebra, but not lions or eagles.  Horses are a difficult case, but I couldn’t find a country where it both appeared as a supporter and was a common source of meat. Obviously extinct animals didn’t count, otherwise I could have included Mauritius with its dodo. In some cases, it was a bit hard to prove that a particular animal is eaten in a particular country using only the internet, but if I was able to find evidence that it was used as a source of food in that general area, I counted it as a hit.

Ok, so what did I discover? Well, of the 200 or so countries whose coats of arms I looked at, most didn’t really eat their supporting animals, probably because they were generally powerful predators (lions, eagles or bears), human beings or mythical animals.  Which is understandable, since people tend to look down on farm animals, seeing them as none too bright and too common to be particularly interesting.  The exceptions to this rule are Chad, whose arms are supported by a goat rampant, and Iceland, which has a bull symbolising the local spirit (landvaettir) of the southwestern part of the country.

Fish are also surprisingly common among island nations: the vibrant coat of arms of the Bahamas is supported by the marlin, Barbados by the odd looking dolphin fish and the Seychelles by two swordfish.

Then we get into slightly weirder territory: Eritrea’s coat of arms features a camel, which apparently tastes something like horse.  Botswana’s features two zebras and Zimbabwe’s has two curly-horned kudus. I suppose they probably taste like horse too.  And finally Grenada’s features a little armadillo; if you ever find yourself with a cut of Grenadan armadillo be careful to cook it thoroughly, since it’s apparently a common carrier of leprosy.

So next time someone tells you that pernicious lie about Australia being the only country to eat its national emblem, you’ll know better.

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Amagi Goe

29 07 2009

img_20070207T131135231

This is my translation of another Japanese song, one I came across in my Japanese pop culture class last semester.  It belongs to a genre known as Enka, something along the lines of Japanese country music.  Although it may look like a traditional artform, Enka is a 20th century phenomenon, produced partly in reaction to the mostly Western-inspired J-Pop.  Fans are typically older and more working-class than pop listeners, and performers tend to be chosen for their powerful voices rather than the cute looks and charisma that are responsible for the success of most Japanese Idols.

Like Country singers, Enka singers dress fairly conservatively- suits for men and kimono for women, and along with its pentatonic scale (which I understand to mean it lacks two notes) this may responsible for its traditional feel.  As with Country music, Enka lyrics are full of stories of tragic love and loss, everyday hardships and nostalgic references to their lyricists’ particular rural roots.

Amagi Goe (Crossing Amagi) is a case in point; The title refers to Mount Amagi, and specific waterfalls, bridges and marshes pop up throughout the song.  Amagi Goe was also used as the theme tume of  a drama series of the same name, in which a young boy does indeed, cross Mount Amagi, meeting on the way a beautiful geisha.  I haven’t seen the series, so I can’t really say how much the song relates to its plot; but if the lyrics are anything to go to, its a bittersweet and powerful story of  frustrated longing and jealousy.  Visit YouTube and watch Ishikawa Sayuri belt it out (Amaaaagiii Goooooooooe); it’s a great piece of music.

天城越え
Amagi goe
Crossing Amagi

隠しきれない 移り香が
Kakushi kirenai utsuri na ga
I can’t hide the lingering scent

いつしかあなたに しみついた
Itsu shika anata ni shimitsuita
Stained without knowing it by you

誰かに盗られる くらいなら
Dare ka ni torareru, kurai nara
If someone stole you,

あなたを殺して いいですか
Anata o koroshite ii desu ka?
Would it be ok if I killed you?

寝乱れて 隠れ宿
Nemidarete kakure yado
The secret inn where we slept,

九十九折り 浄蓮の滝
Tsuzura ori jouren no taki
The winding Jouren waterfall

舞い上がり 揺れおちる 肩のむこうに
Mai agari, yure ochiru, kata no mukou ni
Rises dancing, falls trembling; over your shoulder

あなた…… 山が燃える
Anata… Yama ga moeru
My dear… the mountain is burning

何があっても もういいの
Nani ga atte mo mou ii no
It’s okay, whatever is there

くらくら燃える 火をくぐり
Kura kura moeru hi o kuguri
Passing through the dizzily burning fire

あなたと越えたい 天城越え
Anata to koetai, Amagi goe
I want to cross with you, cross Amagi

口を開けば 別れると
Kuchi wo hirakeba wakareru to
If you open your mouth we will be parted,

刺さったまんまの 割れ硝子
Sasatta manma no ware garasu
Stabbed with broken glass

ふたりでいたって 寒いけど
Futari de itatte samui kedo
It’s cold even with you there,

嘘でも抱かれりゃ あたたかい
Uso demo dakarerya atatakai
If you would hold me, I would be warm even if you didn’t mean it

わさび沢 隠れ径
Kakure michi, Wasabi Sawa
The hidden path through Wasabi Marsh

小夜時雨 寒天橋
Sayoshi gure Kanten Bashi
A light shower falls on Kanten bridge

恨んでも 恨んでも からだうらはら
Uurande mo, urande mo, karada urahara
Even if I resent you, even if I resent you, my body feels differently

あなた…… 山が燃える
Anata… Yama ga moeru
My dear… The mountain is burning,

戻れなくても もういいの
Modorenakute mo mou ii no
It’s okay if I don’t go back

くらくら燃える 地をはって
Kura kura moeru chi o hatte
Dizzily walking over the burning earth

あなたと越えたい 天城越え
Anata to koetai, Amagi goe
I want to cross with you, cross Amagi

走り水 迷い恋
Hashiri mizu mayoi goi
Love lost in running water

風の群れ 天城隧道
Kaze no mure amagi suidou
The wind rushes, the waterway through Amagi

恨んでも 恨んでも からだうらはら
Urande mo urande mo karada urahara
Even if I resent you, even if I resent you, my body feels differently

あなた…… 山が燃える
Anata… Yama ga moeru
My dear… The mountain is burning

戻れなくても もういいの
Modorenakure mo mou ii no
It’s okay if I don’t go back

くらくら燃える 地をはって
Kura kura moeru chi o hatte
Dizzily the burning earth spreads

あなたと越えたい 天城越え
Anata to koetai, Amagi goe
I want to cross with you, cross Amagi





Blackout

13 06 2009

tokyo-jihen1

Here’s another song from the brilliant Shiina Ringo, this time from the band she formed in 2004, Tokyo Jihen (東京事変 also known as Tokyo Incidents).  Again, tanslations for this one are a bit hard to come by on the internets, so I thought I’d try my hand.  It’s called Blackout.

ブラックアウト
Burakkuauto
Blackout

山ノ手線 最終で何処へ行こうと云うの?
Yamanotesen saishu de doko e ikou to iu no?
On the last train of Yamanote line where do you say we go?


都市の芳香いが変わり桜はもう散っている
Machi no nioi ga kawari sakura wa mou chitteiru
The smell of the city changes, the cherry blossom is already shedding its petals


急いで帰る気温は疾(とう)に北へと逃げ去った様
Isoide kaeru kion wa touni kita e to nigesatta
The cold flees quickly north

抜け駆けで何処へでも遊びに行きましょう
Nukegake de doko e demo asobi ni ikimashou
Let’s go somewhere while no-one knows

もっと酔って居たい
Motto yotte itai
I want to drink more

哀しく満たされ寒さより明るさが疎ましいのさ
Kanashiku mitasare samusa yori akarusa ga utomashii no sa
Filled with sadness, I hate the light more than the cold, you know

都市のネオンはきっと星達を奪ったのだ
Machi no neon wa kitto hoshi tachi wo ubatta no da
Perhaps the neon of the city has stolen the stars


希望の通り黒い時間が二人を匿っている
Kibou no toori kuroi jikan ga futari o kakumatteiru
On the path of hope, we two are surrounded by blackness

抜け駆けで何処へでも私を連れて行って
Nukegake de doko e demo watashi wo tsurete itte
Come away with me somewhere while no-one knows

今日は帰らない
Kyou wa kaeranai
I won’t go home today

素面になってしまいそう
Shirafu ni natte shimai sou
I’ll probably sober up

遠くまで揺らせて運んで行って
Touku made yurasete hakonde itte
Lead me, shaking, far away

もっと酔って居たい
Motto yotte itai
I want to drink more

哀しく汚され何時もより撓やかに忘れたいのさ
Kanashiku yogosare itsu mo yori shinayaka ni wasuretai no sa
Stained by sadness, more than usual, I want to easily forget, you know

白く照らされる日々に置いて行かれそうで
Shiroku terasareru hibi ni oite ikaresou de
I’ll be left behind by the days that brightly light me

ちょっと隠れたいだけ
Chotto kakuretai dake
I just want to hide for a bit

分かっている
Wakatteiru
But I understand

是以上は無い
Kore ijou wa nai
I can’t do that

だから連れて行って
Dakara tsurete itte
So come away with me

帰りたくない
Kaeritakunai
I don’t want to go home

誰も知らないけど
Dare mo shiranai kedo
Noone knows

何より嗚呼!
Nani yori aa!
But more than anything

あなたが疎ましいのさ
Anata ga utomashii no sa
I hate you, you know





Gamble

31 05 2009

shiina (1)

I first discovered the singer Shiina Ringo when I was living in Japan in 2003, and she’s been one of my favourite artists ever since.  If you’re not familiar with her eclectic stylings you might want to imagine the lyricism of Tori Amos, the endless reinvention of David Bowie and the theatricality of Bjork, combined into one chameleonic Tokyoite.

Since my Japanese has stuck resolutely around intermediate level for the past 6 years, I still need help getting the gist of most of her songs (which are especially difficult to understand given her fondness for obscure references and archaic spellings).  Translations of most of her songs are available online in various places, but there are some songs which I haven’t been able to find translations of, among them the beautiful Gamble (ギャンブル).  So with the help of my language exchange partner I thought I’d give it a go myself. There are a couple of versions of this song, the one most easily found on youtube is from a collaboration with the violinist Saito Neko, and used in the movie SAKURAN.

(If you notice any mistakes in my translation, or can improve on it in any way, let me know.)

ギャンブル
Gyanburu
Gamble

あなたはそっと微笑ってくれるから
Anata wa sotto waratte kureru kara
You softly smile at me

明くる朝とうに泣き止んで居るのさ
Akuru asa tou ni naki yandeiru no sa
You know I stop crying as the morning breaks

此の小さな轍に「アナタ呼吸ヲシテ居ル」
Kono chisa na wadachi ni “anata iki wo shiteiru”
I ask the little furrow “are you breathing?”

蝉が喚いて夏の到来を知る
Semi ga naite natsu no torai wo shiru
The cicadas cry and we know of summer’s coming

其の都度何故か羨んで居るのさ
Sono tsudou naze ka urayandeiru no sa
Why do I feel envious every time?

此の戦地で尽きたら「何カシラヘノ服従」
Kono senchi de tsukitara “nani ka shirahen fukuju
If I’d ended on this battlefield,  “Obedience without knowing”

帰る場所など何処に在りましょう
Kaeru bashou nado ni doko ni arimshou
Where can I return to?

動じ過ぎた
douji sugita
I‘m too agitated

もう疲れた
Mou tsukareta
I’m already tired

愛すべき人は何処に居ましょう
Ai subeki hito wa doko ni imashou
Where is the person I’m meant to love?

都合の良い答えは知っているけど
Tsugo no ii kotae wa shitteiru kedo
I know the easy answer

中目黒駅のホームに立って居たら
Nakameguro eki no homu ni tatteitara
Standing at the platform of Nakameguro Station

誰かが急に背を押したんだ 本当さ
Dare ka ga kyu ni se wo oshitanda honto sa
Someone suddenly pushed me from behind, it’s true

此の勝負に負けたら「生キテユク資格モ無イ」
kono shobu ni maketara, “ikite yuku shikaku mo nai”
If I lose this contest, “Unqualified to live”

飼い馴らされた猫の眼で
Kai nasareta neko no manako
The eyes of a tamed cat

鳴いてみようか
Naite miyou ka
Should I try mewing?

やってみようか
Yatte miyou ka
Should I try it?

愛すべき人は何処に居ましょう
Ai subeki hito wa doko ni imashou
Where is the person I was supposed to love?

予定の調和なんて容易だけど
Yotei no chowa nante youi da kedo
But it’s so easy to harmonise plans

声を出せばどなたかみえましょう
Koe wo daseba donata ka miemashou
Should I see what would happen if I spoke?

真実がない
Shinjitsu ga nai
There’s no truth

もう歩けない
Mou arukenai
I can’t walk any more

灰になれば皆喜びましょう
Hai ni nareba mina yorokobimashou
Everyone would be happy if I turned to dust

愛していたよ
Aishiteita yo
I loved you

軽率だね
Keisotsu da ne
Thoughtless, wasn’t it






An Infinite Regression of Cool

7 09 2008

Me and my friend Mansha were in a cafe listening to the Strokes and discussing the pros and cons of their various albums.  The third member of our coffee troup, Manoj, hadn’t even heard of The Strokes, and thought we were a pair of little trendsters for being able to discuss them so thoroughly.  

Alas, unless you’re like Manoj you’ll know that the Strokes might have been pretty edgy five years ago, but nowadays everyone and their mother has Last Nite sitting on their Itunes.  Along with my Pokemon T-Shirt, this set us to thinking about all the differently nuanced posings of cool that the modern world and detached irony together permit us to assume:

Level 1 Is basic coolness, which is basically lame.  This is Beyonce, Australian (or whichever is your local version of) Idol, Top 40 music, heels, make-up and pink T-Shirts on guys.

Level 2 Is edgier, deliberately going for things that are a little bit more obscure, where Juno from the film of the same name might fit in.  Skinny jeans, big sunglasses, messy hair, 70s Punk, all the post-Strokes new York hipster bands, maybe some electro.

Level 3 is where the fun comes in, because at this level you’re so cool that you realise that all the things in Level 1 are lame, but love them anyway, with some degree of detachment.  For those wishing to reach this level, you might want to begin by listening to some mainstream hip hop (perhaps Jay-Z for beginners, Eminem for those looking for a challenge) while drawing your friends’ attentions to the amusingly misogynistic lyrics.  

Level 4 Is even more specialised, but I have met some souls capable of pulling it off.  You realise that all the “alternative” choices involved in Level 2 are just as mainstream as chart-topping R’n'B but assume an ironic hipster pose, secretly aware of how cliched even your friends are.

Level 5 and Up Are only hypothetical, but extrapolating from the earlier levels, we can assume that Level 5 involves ironically listening to pop music in an ironic way.  

All of which is just an excuse for me to link to the genuinely (Level 6+) cool website of Ari Versluis.  Called Exactitudes it’s a photographic series showing subcultures in action; In major cities all across the world he finds people all, unconsciously, dressed in variations on a theme, and juxtasoses them in a way that’s humorous and revealing.  See if you can find your own subculture!





hot off the press: anonymous picket sydney scientology office

14 06 2008

V Mask

Not one hour ago I was waiting on Castlereagh Street in the Sydney CBD for my bus home, standing, as usual, opposite the Church of Scientology building, still busy burning carbon late into the night, with its occasionally glimpsed staff waiting for people to personality test,  auditing each other, and doing whatever else Scientologists do.  A bunch of fairly normal looking guys dressed in jeans, with backpacks and V masks walked up, one had a cigarette, then they walked over and stood outside the door.  And I realised I was witnessing an Anonymous protest against Scientology.

Not much happened.  All of us at the bus stop were pretty bored, as about a dozen identical, and useless buses had passed in the last half hour, getting our hopes up only to dash them; so watching the eight or so guys dressed in their masks hanging around was pretty exciting.  I overheard one mother having a discussion with her precocious sounding son about the cult/religion.  She compared the Thetan levels to an expensive, never-ending computer game.

The protesters had a camera, and one was carrying a bag of signs, but they didn’t really use either; possibly because the air was too cold for sign waving.  Inside, we could see the staff hurry about, on phones, chatting to each other importantly.  Whenever one went in or came out, the protesters would cheer enthusiastically and greet him enthusiastically by (a presumably made-up) name.  A group of drunk guys in suits staggered past, and were pretty surprised to see a gaggle of ninjas in their path.

Nobody called the cops, and my bus showed no sign of coming, so I went across the road to say hi.  I learned that this was the fifth protest in 5 months, and had been going on since midday.  The Scientologists sometimes try to give them flyers, and they bring their own to hand out sometimes as well.  Apparently the cops never get called, since they don’t do anything but stand there (and occasionally bounce up to look in through the windows); although they’re not allowed in, despite the scrolling LED sign inviting people to come inside for a free video.  I would have liked to ask, for curiosity’s sake, what it was that made these guys feel so strongly about Scientology, but it didn’t occur to me at the time.

So that was my excitement for today.





It all started with Erich von Däniken…

18 03 2008

eric3.jpg

Stop me if you’ve heard this one before, but I thought I’d start with by talking about John Frum. According to the Tanna Tribe of Vanuatu, he is a god who visited the island in the 1930s, coming in a flying metal chariot, bringing alien treasures of coca-cola, radios and canned meat. His worship survives to this day, and as you’ve probably guessed it preserves the memory of the American GIs who visited the island during the Second World War, conflated apparently with ideas about John the Baptist, Santa Claus and Uncle Sam. To ready themselves for the return of their god the islanders clear landing strips in the forests, and sit in wooden air-traffic control towers wearing carved headsets. [1]

Erich von Däniken is a Swiss writer who believes that most religions, from ancient paganism to Hinduism and Christianity, have a similar source, except rather than worshipping troopers from the US of A, we are worshipping alien voyagers, who made us in their image, and may one day return to set us back on the right path.

Däniken’s books peaked in popularity in the 70s, before I was born, but my school library had quite a large collection of them for some reason, and they captured my teenage imagination. Even then, I was not entirely convinced, but my opinion at the time was that even if his conclusions stretched probability, his anecdotes raised dizzying questions. Who built the vast, seemingly-useless, ancient monuments in Egypt and Stonehenge? Who set a rustproof iron pillar outside Delhi 4000 years ago? Why did the Nazca Indians carve drawings into the earth which could only be seen from space? How could an ancient map show the coastline of Antarctica, buried beneath the ice since before recorded history began?

The ideas have stuck around in my head for a long time, so when I started thinking about this project, Däniken’s first book, “Chariots of the Gods?” seemed a good place to start.

Revisiting your childhood memories is always a dangerous business, and coming back to Däniken’s prose I was… underwhelmed. His arguments are sloppy, his evidence leap-frogs from point to point without time for examination, and forget about footnotes or references. At one point he discussing the Ark of the covenant, he comes out with a surpising admission “without actually consulting Exodus, I seem to remember that the Ark was often surrounded by flashing sparks and that Moses made use of this ‘transmitter’ whenever he needed help and advice”. Okaaay.. When an author can’t be bothered to even look up a page in the world’s most readily-available book, it’s time to worry. [2]

So, somewhat disappointed, I turned to “The Space Gods Revealed”, a slim volume by Ronald Story, which I serendipitously found in a second-hand bookshop last week. This book is a counter-argument to Däniken, and in meticulous (footnoted) detail Story debunks his opponent’s evidence.

It turns out that most of Erich von Däniken’s ideas were not original to him- many were… inspired by a series of French writers who preceded him, including Jacques Bergier, who wrote “Morning of the Magicians” in 1960, and Robert Charroux, who documented “One Hundred Thousand Years of Man’s Unknown History” shortly later.[3] Däniken’s book, published first in 1968, was just in the right place at the right time, and he became the star, the father of the alien astronaut movement.

All this aside, I’m not interested in “Chariots of the Gods?” for its scientific value, but for its worth as a story, and while Däniken may not be its originator, or most compelling teller, the tale is still an intriguing one. About 40,000 years ago, according to our Swiss friend, visitors from another, distant world came to earth. Whether they were just travellers, refugees from a distant war, or even ourselves from a time-travelling future, we cannot know; but they interacted with our distant, simian ancestors, making us into the conscious, intelligent creatures we are today. Thus, in essence, we are part-monkey, part-space god. Again, our guide is inconsistent as to how they achieved this alchemical union of natures; sometimes he thinks that they physically impregnated hominid women (Ronald Story, in his critique, hints at the engineering problems of giant aliens making sweet love to diminutive she-apes). More plausibly, perhaps they simply practised some form of genetic engineering.

They then departed, only to return thousands of years later to find that their creations had not lived up to their promise, they’d reverted to sub-human wickedness; they unleashed atomic weapons, described in the Mahabharata and the story of Sodom and Gomorrah, killing off the failed experiments, so that they could then teach the rudiments of civilisation to the more promising specimens.

As evidence, we have anomalous artefacts from all over the world, whispering of a higher culture that created them, if only we know how to listen. There’s the map of the Turkish Admiral Piri Reis, based on older maps, which showed out the landmass of Antarctica and the Americas, prepared in 1513, surely copied from a photo taken from orbit. Then there’s the rustproof Iron pillar of Meharauli near Delhi, which has stood for 4000 years. Exciting? Yes, but unfortunately these were two bits of evidence that Däniken himself had to disown, as he did in a Playboy interview; the technology used in making the pillar was impressive, but documented in pre-modern times, and the supposedly accurate map bore no relation to the Antarctic coastline; the admiral had guessed that South America was connected to the Southern tip of Africa, and had drawn the map accordingly. [4]

Then there are the eyewitness accounts of the visits of the gods, take this one in Ezekiel for instance:

And I looked, and, behold, a whirlwind came out of the north, a great cloud, and a fire infolding itself, and a brightness was about it, and out of the midst thereof as the colour of amber, out of the midst of the fire. Also out of the midst thereof came the likeness of four living creatures. And this was their appearance; they had the likeness of a man. And every one had four faces, and every one had four wings. And their feet were straight feet; and the sole of their feet was like the sole of a calf’s foot: and they sparkled like the colour of burnished brass. And they had the hands of a man under their wings on their four sides; and they four had their faces and their wings. Their wings were joined one to another; they turned not when they went; they went every one straight forward. As for the likeness of their faces, they four had the face of a man, and the face of a lion, on the right side: and they four had the face of an ox on the left side; they four also had the face of an eagle. Thus were their faces: and their wings were stretched upward; two wings of every one were joined one to another, and two covered their bodies. And they went every one straight forward: whither the spirit was to go, they went; and they turned not when they went. As for the likeness of the living creatures, their appearance was like burning coals of fire, and like the appearance of lamps: it went up and down among the living creatures; and the fire was bright, and out of the fire went forth lightning. And the living creatures ran and returned as the appearance of a flash of lightning. Now as I beheld the living creatures, behold one wheel upon the earth by the living creatures, with his four faces. The appearance of the wheels and their work was like unto the colour of a beryl: and they four had one likeness: and their appearance and their work was as it were a wheel in the middle of a wheel. When they went, they went upon their four sides: and they turned not when they went. As for their rings, they were so high that they were dreadful; and their rings were full of eyes round about them four. And when the living creatures went, the wheels went by them: and when the living creatures were lifted up from the earth, the wheels were lifted up.

Däniken takes this to be a painstaking account of a spaceship, and in fact Josef Blumrich, an Austrian Engineer who worked for NASA at the time, found this idea so convincing that he left his job to spend more time researching “extraterrestrial visitors in ancient times”. He reconstructs the alien ship thusly:

fig1.jpg

I’ll leave it to you to decide how plausible that one is.

 

 

Some of Von Däniken’s most interesting ideas are also his wackiest. He believes that the Egyptians practised mummification so that they could preserve their bodies until their gods returned, and used their technologies to return life to their run-down bodies. Hopefully they could also reconstruct their brains, which would have been pulled out through their noses with hooked implements.

Like most of his successors in the Space God movement, Däniken invokes our alien ancestors to support modern ethical concerns- they want to warn us about the dangers of nuclear war, and they herald an age when we can rise above the divisive ideas of separate nation states.[5] Ronald Story offers a cogent analysis of the appeal of the ancient astronauts theory, which I want to mention here because it forms one of the central ideas of this project.

 

Modern humans want to believe in the gods, but we fear that science is killing the magic that once filled the world. So we recast our myths in a superficially scientific form, breathing the wonder back into the material world, and plausibility back into religion. For all their references to the Mahabharata and Ancient Greece, Däniken and his crowd are most interested in interpreting the Bible, the central religious text of their culture.[6]

 

They are people desperate in quest of that noblest and rarest of human boons, an experience of wonder, and when the U.F.O.s bestow it, they cannot but believe the Ultimate must lie encapsulated in them… These books maybe pitiful stumbling efforts in the morasses of technical and historical scholarship… But as religion they are worthy of respect as picture-language wrestling with the deep matters all persons face – or evade – in the stillness of the heart. On this level their scientific and historical failings may not matter so much. In what pertains to the ultimate beyond the circles of science and history, all language is picture-language only shadowing what is beyond words. It is, in the old Zen phrase, the finger pointing at the moon.[7]

[1] http://www.damninteresting.com/?p=788
[2] Erich von Däniken, Chariots of the Gods?, Northumberland Press Limited, 1972; Page 57
[3] Ronald Story, The Space Gods Revealed, New English Library Limited, 1978; Page 20
[4] Ibid 49-52; 98
[5] Däniken, op cit. 25
[6] Story, op cit 130
[7] Ibid GR 136-137





Hello world!

17 03 2008

eternals1.jpg

Welcome to Return of the Space Gods! Of course, you’re probably wondering what that rather clunky title actually means, so here’s the quick lowdown…

This blog was created by Korshi, an art student/artist (it’s not really clear which) based in Sydney, Australia. The title refers to my major project for this semester, a fairly ambitious idea which I intend to document in this online forum. What is the project about? It’s really the product of my love of sci-fi and the paranormal, a look at sci-fi religions and their relationship to science and religion. The story is that sometime in the distant past, Alien Gods from outer space visited us, and will return again to save us from ourselves at the end of this Mayan Cycle (2012 I think…). The final project will consist of paintings, drawings, digital paintings, photos… whatever I decide to include.

Why (I hope) this blog will be interesting, is that I will try to post more-or-less daily either images or thoughts relating to my research. You can look forward to my thoughts on subjects from Scientology to Erik von Daniken, Jack Kirby, Raëlism, Billy Meier, H.P. Lovecraft and Battlefield Earth… and if you have your own take on any of these I’d love to hear it.

I have a website at www.lairofthetwistedkitten.co.uk (which will probably be down for a few more days), with a load of comics, drawing and a few short stories. I haven’t been updating this as often as I’d like, mainly due to my uni comittments, so hopefully this blog will do something about that.