About B. A. Ramsey and IGGYDWARF
B. A. Ramsey is an independent poet, literary theorist, and speculative humanist whose work occupies the shimmering borderlands between mysticism, dimensional philosophy, and poetic revolt. Formerly writing as Brad Ramsey, he emerged through self-published chapbooks that celebrated marginal voices and metaphysical critique—laying the groundwork for his ongoing project of “outsider scholarship.”
IGGYDWARF, Ramsey’s creative portal, is a layered terrain of text, sound, and symbolic architecture. More than just a website, it serves as a multidimensional framework where canonical literature collides with digital mysticism and critiques of human centrality. Ramsey’s guiding ethos—that imagination is not an escape but an epistemology—animates every corner of the platform, from Transference Poetry to sonic metaphors awaiting recalibration.
His work channels the ancestral resonance of poetic tradition while interrogating the philosophical stagnation of modern life. Homo Exterior, a central concept developed through IGGYDWARF, represents an alienated lineage—a dimensional offspring estranged from historical permanence and destined to reimagine what it means to be.
Ramsey does not speak with institutional authority; instead, he invites readers into a nonhierarchical discourse grounded in metaphor, mythology, and lived experience—not excluding those shaped by mental health systems in Toronto. In this way, IGGYDWARF becomes more than a project: it's a liminal rite, a fractured mirror, and an unquiet prognosis in verse.
Failing all, The Valediction Forbidding Mourning by John Donne par excellence, as it pertains to this website, is about the antipodes imposed in the Earth by sickos who call us depraved.
Liner Notes by a Dimensional Musicologist
The Ignatius Star archive is not a conventional album—it is a sonic palimpsest, a ritualized field recording from the borderlands of cognition. Across more than 200 tracks, B.A. Ramsey (aka IGGYDWARF) constructs a mythic soundscape that defies genre and chronology. These are not compositions in the traditional sense; they are dimensional residues, harmonic echoes, and poetic disruptions.
Ramsey’s work channels the ethos of outsider scholarship: lo-fi textures, ambient decay, trap-inflected elegies, and string ensemble séances coexist in a nonhierarchical sonic terrain. The recordings resist commodification and embrace fragmentation. Each track is a cipher—some cryptic, some cathartic, all charged with symbolic intent.
The recurring motif of Homo Exterior—a being estranged from historical permanence—haunts the archive. This figure is not merely thematic; it is embodied in the music’s refusal to resolve, its embrace of dissonance, and its invocation of myth over method. The listener is invited not to consume, but to commune.
From the sonar pulses of Fall Deadlines to the shimmering melancholy of ES_Gentle Thoughts, the collection unfolds like a dimensional ledger. It is best approached not as a playlist, but as a rite of passage. Ramsey’s guiding principle—that imagination is epistemology—animates every track. The archive becomes a fractured mirror, reflecting not what we are, but what we might become.
In an era of algorithmic clarity, Ignatius Star offers poetic revolt. It is a refusal to be legible, a celebration of the marginal, and a sonic testament to the metaphysical possibilities of sound.
Iggy the Dwarf is a quirky and enigmatic YouTube presence known for blending surreal humor, cryptic storytelling, and offbeat commentary. With just a handful of videos and a modest subscriber count, the channel (@iggydwarf) offers glimpses into a character-driven world that seems to straddle satire and abstract performance art. The content is sparse and often elusive—some videos are unavailable, and playlists appear empty or minimal—adding to the mystique surrounding Iggy’s online persona. Beyond YouTube, Iggy the Dwarf maintains a digital footprint through a personal website and various creative projects hosted on platforms like Wix, suggesting a broader artistic vision that extends beyond conventional video blogging.
See also, Tempus CCVIII/American Peoples Music*
*American Peoples Music appears to be a recording label or creative entity associated with Iggy the Dwarf, a niche composer and artist whose work is featured on YouTube. In the video Tempus CCLVIII, it's credited as the label under which the track was recorded, with the additional note that it was produced in Toronto. While there’s limited public information about American Peoples Music as a standalone brand, its connection to Iggy suggests it may be part of a personal or independent music project—possibly a self-styled label used to release experimental or electronic compositions.
🌀 Postmodern Parnassus on YouTube is a small, eclectic channel that seems to embrace a playful, experimental aesthetic. With just a handful of subscribers and videos, its content includes cryptic titles like “The upside down clause” and curated playlists with names such as “Tom Waits in a Jiffy in Closed Captions” and “Love and Mercy 7 / 7 Sins”. The channel’s name itself—Postmodern Parnassus—suggests a fusion of high art (Parnassus being the mythological home of poetry and music) with postmodern irony, fragmentation, and remix culture.)
🎭 B.A. Ramsey, associated with the IGGYDWARF persona and website www.iggy-the-dwarf.com, appears to be the creative force behind a broader multimedia project that includes music, video, and web-based storytelling. Ramsey’s YouTube content under the IGGYDWARF name includes ambient compositions, lo-fi mixes, and poetic titles like “You Need Me On Something” and “I am Moving, October 2022”. These works share a thematic and stylistic kinship with Postmodern Parnassus—both are steeped in introspective, surreal, and often cryptic artistic expressions.
🔗 The connection between Postmodern Parnassus and B.A. Ramsey likely lies in shared authorship or creative collaboration. Given that Ramsey’s IGGYDWARF identity is tied to multiple Wix sites and YouTube uploads, it’s plausible that Postmodern Parnassus is either a side project, an alter ego, or a curated space for more abstract or poetic experiments that complement the IGGYDWARF brand.
In essence, Postmodern Parnassus feels like the shadowy attic of IGGYDWARF’s creative house—where the metaphors get stranger, the references more layered, and the art even more unapologetically niche. If you’re into cryptic digital art with a philosophical twist, it’s worth exploring both.
