MJ speaks by wivvhoom
"An experiment with EVPmaker for windows. Using methods and software developed by EVP researcher Stefan Bion and following the basic principles of the speech synthesis method of EVP research, I have attempted to make contact with the ghost of Michael Jackson. This is one of my first attempts"
Monday, 28 December 2009
Sunday, 27 December 2009
Speech synthesis method of EVP
Stefan Bion's homepage which aims "Einblicke zu gewähren in Vorgänge, die normalerweise im Verborgenen liegen". He has made several free software programs for windows to download with the aim of generating EVP recordings by providing the raw material to act as a carrier for the voices, "paranormal transformations of the raw material".
Here is the manual to the software EVPMaker:
http://www.stefanbion.de/evpmaker/evpmaker.htm
This method is inspired by the statement of former president of the German Association for Transcommunication Research Fidelio Köberle (Vereins für Transkommunikations-Forschung (VTF)e.V.) in 1988 -
"[...] ein künstlich hergestelltes Rohmaterial zur Verfügung zu stellen, etwa analog dem bereits vielfach benutzten Wasserplätschern oder dem Geräusch bei der Reibemethode (Struck). Ideal könnte sein ein synthetisch laufend hergestelltes Rohmaterial, das der Sprache so nah wie möglich kommt. So nah wie möglich deshalb, um den Gesprächspartnern auf der anderen Seite zu erlauben, mit möglichst geringem Energieaufwand daraus echte Sprache zu machen. Geringer Energieaufwand deshalb, weil wir wissen, daß es dann am besten funktioniert (siehe Umformungen). Das Material dürfte natürlich noch keine Sprache sein, sich aber leicht in sinnvolle Sprache verwandeln lassen. Es müßte ohne Periodizität sprudeln. Es sollte Pausen enthalten, wie normales Sprechen auch. Ohne Einsatz von Zufallsgeneratoren für die Variation von Ton und Pausen wird man nicht auskommen. [...]"
(eng translation):
"[...] to provide an artificially generated raw material, like for instance the often used noise from rippling water or Struck's "rubbing method". Ideal could be a continuously produced synthetic raw material which comes as close to speech as possible. As close as possible in order to allow the interlocutors on the other side to form real speech from it using as little energy as possible. Little energy, because we know that this works best (see transformations). The raw material must of course not already be speech but should be transformed into reasonable speech easily. It should bubble without periodicity. It should, like usual speech, contain pauses. Without the use of random generators this won't be managed. [...]"
[source: [1] Source: VTF-Post P 51, issue 2/88 - 1.4.1988, page 42]
Stefan Bion decided to use a 'real' random number generator for the focus of potential paranormal influences, with each random number assigned to a certain phoneme of the German language. "With a little practice, the originators of the voices should be able to synthesize their messages by influencing the RNG mentally..."
Here is the manual to the software EVPMaker:
http://www.stefanbion.de/evpmaker/evpmaker.htm
This method is inspired by the statement of former president of the German Association for Transcommunication Research Fidelio Köberle (Vereins für Transkommunikations-Forschung (VTF)e.V.) in 1988 -
"[...] ein künstlich hergestelltes Rohmaterial zur Verfügung zu stellen, etwa analog dem bereits vielfach benutzten Wasserplätschern oder dem Geräusch bei der Reibemethode (Struck). Ideal könnte sein ein synthetisch laufend hergestelltes Rohmaterial, das der Sprache so nah wie möglich kommt. So nah wie möglich deshalb, um den Gesprächspartnern auf der anderen Seite zu erlauben, mit möglichst geringem Energieaufwand daraus echte Sprache zu machen. Geringer Energieaufwand deshalb, weil wir wissen, daß es dann am besten funktioniert (siehe Umformungen). Das Material dürfte natürlich noch keine Sprache sein, sich aber leicht in sinnvolle Sprache verwandeln lassen. Es müßte ohne Periodizität sprudeln. Es sollte Pausen enthalten, wie normales Sprechen auch. Ohne Einsatz von Zufallsgeneratoren für die Variation von Ton und Pausen wird man nicht auskommen. [...]"
(eng translation):
"[...] to provide an artificially generated raw material, like for instance the often used noise from rippling water or Struck's "rubbing method". Ideal could be a continuously produced synthetic raw material which comes as close to speech as possible. As close as possible in order to allow the interlocutors on the other side to form real speech from it using as little energy as possible. Little energy, because we know that this works best (see transformations). The raw material must of course not already be speech but should be transformed into reasonable speech easily. It should bubble without periodicity. It should, like usual speech, contain pauses. Without the use of random generators this won't be managed. [...]"
[source: [1] Source: VTF-Post P 51, issue 2/88 - 1.4.1988, page 42]
Stefan Bion decided to use a 'real' random number generator for the focus of potential paranormal influences, with each random number assigned to a certain phoneme of the German language. "With a little practice, the originators of the voices should be able to synthesize their messages by influencing the RNG mentally..."
Friday, 18 December 2009
Edith Lecourt
“Echo is an automatic, dehumanized response, which breaks any relation...The interpretation that is given, presents echo as a punishment, a conviction which, through speech reaches the true essence of human beings, making it meaningless. Elusive, inaccessible, Echo is everywhere, it haunts us."
Quote Edith Lecourt, "Le Sonore er les limites du soui" Bulletin de psychologie, 36, no. 360 (1983), 577-82
Edith Lecourt's Blog (in French)
Quote Edith Lecourt, "Le Sonore er les limites du soui" Bulletin de psychologie, 36, no. 360 (1983), 577-82
Edith Lecourt's Blog (in French)
narcissistic suicidal aggression
Three recent studies on narcissism show:
1. Narcissists are motivated to achieve a desired outcome (probably further personal glory) but not that motivated to avoid a negative outcome.
2. Depressive symptoms induce paranoid symptoms in narcissistic personalities (but not narcissistic symptoms in paranoid personalities).
3. On-line gamers are reported to be high on the narcissism and aggression, and low on self-control. (see Grand Theft Auto)
Source and image: http://neurologicalcorrelates.com/wordpress/2008/05/20/new-psychological-research-on-narcissist-narcissists-are-motivated-by-gain-than-deterred-by-potential-loss-narcissists-get-paranoid-when-depressed-and-gaming-addicts-are-high-on-narcissism-and-aggr/
"Narcissistic Suicidal Aggression"
In "Remarks on Psychic Causality," Lacan coins the term "narcissistic suicidal aggression" (aggression suicidaire narcissique) to express the fact that the erotic-aggressive character of the narcissistic infatuation with the specular image can lead the subject to self-destruction (as the myth of Narcissus also illustrates)
Taken from: http://nosubject.com/Narcissism
Tuesday, 1 December 2009
auto-somatosensory reflexes
Truffaut's Fahrenheit 451
http://www.youtube.com/watch?v=zoYdyEH3ZMs
1:14 - 1:26
http://www.youtube.com/watch?v=d4j5-op_N7Y&feature=related
0:54
http://www.youtube.com/watch?v=zoYdyEH3ZMs
1:14 - 1:26
http://www.youtube.com/watch?v=d4j5-op_N7Y&feature=related
0:54
Thursday, 26 November 2009
Echo
In a World of Echo
"As soon as you have echo, listening has to completely change. You ear has to chase the sound. Instead of the beat being this one event in time, it becomes this series of retreating echoes, like a tail of sound. The beat becomes a tail which is always disappearing round the corner and your ear has to start chasing it. If you're wearing headphones or a walkman it becomes a chase through the headphones. The Echoplex turns listening into running. You can't catch the beat, the tails of sound as they turn the corner, disappear down a corridor. From King Tubby to Basic Channel, the cymbal is always just out of reach, always taking the corner of perception. Where rhythm should be there is space, and vice versa. Spectral dub pivots around an absent beat."
04 Quote taken from 'more Brilliant than the Sun' p64
Replicant
"...When you double, or dub, you replicate, reinvent, make one of many versions. ... The composition has been decomposed, already, by the technology. Dubbing, at its very best, takes each bit and imbues it with a new life, turning a rational order of musical sequences into an ocean of sensation"
Taken from David Toop's 'Ocean of Sound' p 115
"As soon as you have echo, listening has to completely change. You ear has to chase the sound. Instead of the beat being this one event in time, it becomes this series of retreating echoes, like a tail of sound. The beat becomes a tail which is always disappearing round the corner and your ear has to start chasing it. If you're wearing headphones or a walkman it becomes a chase through the headphones. The Echoplex turns listening into running. You can't catch the beat, the tails of sound as they turn the corner, disappear down a corridor. From King Tubby to Basic Channel, the cymbal is always just out of reach, always taking the corner of perception. Where rhythm should be there is space, and vice versa. Spectral dub pivots around an absent beat."
04
Replicant
"...When you double, or dub, you replicate, reinvent, make one of many versions. ... The composition has been decomposed, already, by the technology. Dubbing, at its very best, takes each bit and imbues it with a new life, turning a rational order of musical sequences into an ocean of sensation"
Taken from David Toop's 'Ocean of Sound' p 115
Monday, 23 November 2009
Hyperstition
"fictions that make themselves real"
K-Punk:
"The situation is closer to the modern phenomenon of hype than to religious belief as we'd ordinarily think about it. Hype actually makes things happen, and uses belief as a positive power. Just because it's not "real" now, doesn't mean it won't be real at some point in the future. And once it's real, in a sense, it's always been."
---
"Burroughs construed writing – and art in general – not aesthetically, but functionally, - that is to say, magically, with magic defined as the use of signs to produce changes in reality. "
"OGU’s (One God Universe) power works through fictions that repudiate their own fictional status: antifictions and unnonfictions. ‘And that,’ Kaye said, ‘is why fiction can be a weapon in the struggle against Control.'"
‘You can see that Burroughs’s writing involves the highest possible stakes,’ Kaye wrote. ‘It does not represent cosmic war: it is already a weapon in that war. It is not surprising that the forces ranged against him – the many forces ranged against him, you can’t overestimate their influence on this planet – sought to neutralize that weapon. It was a matter of the gravest urgency that his works be classified as fantasies, experimental dada, anything but that they should be recognized as what they are: technologies for altering reality.’
All quotes taken from CCRU on William Burroughs and hyperstition
more on hyperstition
K-Punk:
"The situation is closer to the modern phenomenon of hype than to religious belief as we'd ordinarily think about it. Hype actually makes things happen, and uses belief as a positive power. Just because it's not "real" now, doesn't mean it won't be real at some point in the future. And once it's real, in a sense, it's always been."
---
"Burroughs construed writing – and art in general – not aesthetically, but functionally, - that is to say, magically, with magic defined as the use of signs to produce changes in reality. "
"OGU’s (One God Universe) power works through fictions that repudiate their own fictional status: antifictions and unnonfictions. ‘And that,’ Kaye said, ‘is why fiction can be a weapon in the struggle against Control.'"
‘You can see that Burroughs’s writing involves the highest possible stakes,’ Kaye wrote. ‘It does not represent cosmic war: it is already a weapon in that war. It is not surprising that the forces ranged against him – the many forces ranged against him, you can’t overestimate their influence on this planet – sought to neutralize that weapon. It was a matter of the gravest urgency that his works be classified as fantasies, experimental dada, anything but that they should be recognized as what they are: technologies for altering reality.’
All quotes taken from CCRU on William Burroughs and hyperstition
more on hyperstition
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