Here he presents the history of research on “thoughtography” conducted with the psychokinetically talented subject, Ted Serios, primarily by the Denver psychiatrist, Jule Eisenbud, MD. He notes that thoughtography involves images projected from the mind of a living person, as opposed to “spirit photography” which – if not fraud – represents images of discarnate entities. He emphasizes the many scientific controls employed in this research and maintains that it has withstood the onslaught of skeptical criticism. He notes that Eisenbud analyzed these images in terms of Serios’ unconscious psychodynamics. 

Introduction

The term ‘thoughtography’ was introduced in 1910 by Tomokichi Fukurai, a Japanese psychology professor who encountered the phenomenon accidentally, while working with a clairvoyant.1 He conducted some interesting experiments, but his work was severely criticized, and eventually he was forced to abandon his research and resign his university position. Although thoughtographic experiments continued in America and Europe, allegations of fraud eventually helped snuff out this form of research for several decades.

Then, beginning in the 1950s, Ted Serios sparked a renewed interest in paranormal photography, primarily because his thoughtographs were produced in ways that ruled out the usual opportunities for fraud. Previously, printing photos required several darkroom procedures, any one of which (critics alleged) could be manipulated surreptitiously. But Serios was apparently causing images to appear on the newly invented Polaroid system of so-called instant photography. Experimenters would observe him closely while the pictures were taken, and then everyone could watch the print appear as the film was removed from the camera. As a result, many consider the case of Ted Serios to be not simply the most impressive and best documented case of thoughtography, but one of the most impressive cases ever of psychokinesis generally.

Eisenbud’s Experiments

When Serios was in his mid-30s and working as an elevator operator in a Chicago hotel, he began to experiment with hypnosis. During this period, he found that he could produce images onto film, at first using an ordinary box camera, and then eventually onto Polaroid film. After several years of demonstrating his apparent gift to various people and some researchers in the Chicago area, Serios came to the attention of Denver psychiatrist and psychical researcher, Jule Eisenbud. From May 1964 until June 1967 Eisenbud supervised thousands of trials, witnessed by at least one hundred different observers, most of them scientists and academics, and some of them experienced conjurors. These trials yielded around one thousand anomalous Polaroid photographs, the entire collection of which now resides in the Special Collections section of the Library at the University of Maryland Baltimore County. Eisenbud reported this research in detail in his book, The World of Ted Serios. That work exists in two editions, which differ enough to make acquisition of both mandatory for students of the case.2

More than 400 of Serios’s psychic photographs contained specific images. These images, usually of buildings, were typically somewhat blurry or distorted, but they were nevertheless often recognizable. And on some occasions Eisenbud or another experimenter selected a ‘target’ image beforehand but concealed its identity from Serios (e.g., by sealing the image in an opaque envelope). They wanted to see if Serios could psychically identify the target and reproduce it onto Polaroid film. Some of these trials were judged to be successes (or ‘hits’), although the correspondences were generally not very close. However, Eisenbud suspected that the results probably revealed something about the working of Ted’s unconscious, and more generally, about the subtle psychodynamics of psi. It’s worth reading Eisenbud’s thoughtful and penetrating discussions and interpretations of Ted’s efforts in these cases. But for present purposes, it doesn’t matter whether the correspondences between the anomalous Polaroids and the hidden targets are especially clear. The fact remains that the Polaroid photos were produced under conditions which seem clearly to rule out fraud, and accordingly which seem to require a paranormal explanation.

In any case, not all of Ted’s attempts to reproduce hidden targets require depth-psychological scrutiny. For example, on one occasion the resulting photo seemed clearly to connect with Ted’s preoccupation at the time. The hidden target in this case was a photo of the French chateau Maintenon. Ted was in a room about thirty feet away, but not especially interested in the experiment. He was more concerned with the arrival of the spacecraft Mariner IV in the vicinity of Mars. The photo produced on this occasion was a bottle-shaped object, which indeed looks very much like the shape of the spacecraft.3

However, some of Serios’s most important and puzzling results don’t involve the production of images at all. Serios also produced hundreds of so-called blackies and whities. The former photos were apparently either not exposed or at least greatly underexposed, and the latter were apparently severely overexposed. The blackies are perplexing because there’s no reason to think that for those trials light had been prevented from reaching the film. So something should have appeared on the Polaroid film when it was removed from the camera. And the whities are puzzling because they were obtained when all visible light sources had apparently been blocked from the camera lens. Those Polaroids should have been dark.

In June 1967, Serios’s productive three-year period of work with Eisenbud came to a sudden close when Ted produced an image of curtains. Eisenbud quickly grasped the symbolism of this image—‘finis’. He recognized that the curtain had indeed fallen, both on this fertile phase of Ted’s psychic productivity and also on his own research with Ted. From this point on, Serios sporadically produced blackies and whities and some other anomalous effects, but he had apparently lost the ability to produce identifiable images on film.

Further Considerations

Another reason this case is so fascinating is that Serios himself was an intriguing character—and hardly the ideal subject. For one thing, he was an alcoholic, and he preferred to work in a state of considerable inebriation. Eisenbud estimated that, during the three year-period of 1964 through ’67, Ted consumed ‘several thousand quarts of hard liquor and beer as heavy drinking turned out to be a regular part of the picture taking ritual’.4 As a result, Ted often became more difficult to manage as the sessions progressed. This undoubtedly fueled the skepticism of some critics.

To complicate matters further, Serios also liked to work with what he called a ‘gismo’, a short open cylinder, about an inch in diameter, typically created during the experimental sessions from the black paper packaged with Polaroid film. Ted often liked to place the gismo in front of the camera lens, holding it with his thumb and forefinger. Apparently, he had developed the habit of using a gismo from his early Chicago experiments, and now he felt comfortable with it, as if it helped him to concentrate on the task at hand. Not surprisingly, critics found this highly suspicious. They charged that Ted used the device to conceal an image—for example, a transparency, which (they claimed) could then be projected onto the film.

The primary source of this skeptical allegation was the article, ‘An Amazing Weekend with the Amazing Ted Serios’, in the October 1967 issue of Popular Photography, written by David B Eisendrath and Charles Reynolds. That article left most (if not all) readers thinking that the authors had successfully exposed the pretensions of an alleged psychic. However, the article was seriously misleading, and few learned later that no one had accepted Eisenbud’s challenge (in the following November issue)5 to duplicate Serios’s results under conditions similar to those imposed on Serios (more on that issue below). Before long, Eisendrath’s and Reynolds’s criticism evolved into the unverified assertion that Serios’s feats had been duplicated easily by the magician the Amazing Randi, and soon many people had accepted that falsehood as an established fact. The noted science author Martin Gardner undoubtedly moved this process along by repeating the allegation in his book, Science, Good, Bad and Bogus,6 and by claiming in the journal Nature that Randi ‘demonstrates it [the Serios phenomenon] regularly and with more skill.’7 However, Gardner’s claim is completely unsubstantiated. Randi never even attempted publicly to duplicate the Serios phenomenon under conditions resembling those that prevailed during Serios’s tests. He did, however, fail to duplicate the phenomenon under the much looser test conditions allowed on the television show Today on October 4, 1967.

In any case, suspicion over the gismo persisted. Granted, it’s understandable how people only casually acquainted with the evidence might think that concern over the gismo is warranted. But much of the well-publicized criticism of Ted and the gismo betrayed either gross ignorance of the evidence or outright dishonesty in reporting. There are several reasons for cynicism here. First, Serios often produced multiple images in one experimental session (e.g., as many as fifty separate images during a series of sixty to eighty trials, or ten to twenty images in a shorter series of trials). So even if Ted had been concealing images in the gismo, he would have needed to replace those hidden images many times throughout the session while somehow avoiding the detection of observers who watched him closely. At any rate, the gismo was usually examined before, during, and after shooting, and no images or other devices were found inside.

Second, experimenters often held the gismo until the photo was taken. That drastically reduced the time in which Ted could place an image within the gismo, and of course that would make it all the more difficult for Ted’s alleged trickery to escape detection. And third, Ted sometimes produced images under conditions of complete darkness and also on unexposed, opaquely wrapped film. (Significantly, critics ignore discussing this and other test conditions in which the appeal to hidden devices would appear ludicrous.)

But most important, Serios produced more than thirty-six images when he was separated from the camera at distances of one to sixty-six feet. Those effects were observed on twelve occasions in nine different locations by fourteen witnesses including Eisenbud. Moreover, on these occasions thirteen witnesses besides Eisenbud and Ted held and triggered the Polaroid camera. It should also be mentioned that for the hidden-image-in-the-gismo hypothesis to have any credibility, Serios would have needed to be located no more than a small fraction of an inch from the camera lens. Otherwise, the camera would take a picture of the gismo, not the image allegedly hidden inside it.

Although that seems quite obvious, Eisenbud and his colleagues nevertheless made the effort to duplicate Ted’s effects by placing transparencies within in the gismo. Not surprisingly, they couldn’t do it. Moreover, for some trials Ted was dressed in clothes provided by the experimenter (thereby eliminating the presumed hiding place for images to be inserted later in the gismo). And in some cases Ted was separated from the camera by being placed inside an electrically shielded Faraday cage, while the camera was held by an experimenter outside the cage, obviously well outside the range needed for the alleged gismo trick to work. We should also keep in mind that the hidden-image-in-the-gismo hypothesis doesn’t account for Ted’s ability to produce blackies and whities.

Possibly the most fascinating, but also dauntingly complex, aspect of the Serios case concerns the way objects appear distorted in many of Ted’s images. Predictably, Eisenbud believed these distortions provided further clues about the underlying psychodynamics of psi. But for now, what matters most about them is that the distortions seem to be of a kind that rules out the possibility of fraud. In particular, they seem clearly to rule out (a) prior fraudulent preparation of the images and also (b) improvised manipulation of undistorted images.

An outstanding example of these distortions is a photo Ted produced spontaneously after Eisenbud suggested paying a visit to his ranch. A fresh pack of Polaroid film was used, and Eisenbud created a gismo for Ted on the spot. After some blackies and barely formed images (Eisenbud called them embryonic), Serios produced a recognizable photo of Eisenbud’s property, showing Eisenbud’s ranch house and nearby barn. However, the photo didn’t resemble Eisenbud’s house and barn as they were at the time. The image more closely resembled Eisenbud’s ranch at a period before Ted had ever seen it, and parts of the barn were depicted in a condition in which it had never existed (see figs. 1 and 2).

Eisenbud’s Challenge to Randi

Despite Eisenbud’s repeated—and financially generous—challenges to conjurors to duplicate the Serios phenomena under conditions similar to those prevailing during the experiments, no one has ever come forward. Although some have claimed to produce Serios-like effects, those claims have never been supported by public demonstrations or any other hard evidence.

The most consistently misreported event in the history of the Serios case concerns Eisenbud’s confrontation with magician James Randi on the morning Today television program. During the late 1960s, when the Serios case was getting considerable public attention, Randi insisted that the phenomena were fraudulent, and he boasted that he could reproduce them under conditions similar to those in which Serios succeeded. That would, indeed, have been a neat trick, because those conditions included wearing clothing supplied by the experimenters and being separated from the camera (sometimes in another room, and sometimes in an electrically shielded Faraday cage). Nevertheless, with his usual expressions of confidence, Randi appeared on the Today show with Eisenbud and accepted Eisenbud’s challenge to duplicate the Serios phenomena and make good on his claim.

Of course, confidence is easy to feign, and Randi has done it routinely in his role as magician. He has also cleverly taken advantage of his occasional and successful exposure of high-profile fraudulent cases, by publicizing those successes and creating the impression that he’s a generally reliable guide when it comes to the paranormal. So Randi’s dismissal of the Serios case was all it took for those already disposed to believe that Serios was a fake, and it was probably enough even for those sympathetic to parapsychology but unaware of Randi’s dishonesty. Many (possibly most) viewers were left believing that the case was without merit.

What the TV audience never learned was that when the show was over and Randi was pressed to make good on his wager, he simply wriggled out of it (as Eisenbud noted, like any escape artist would). Early in their correspondence, Randi bragged in a letter dated September 28, 1967, that it would be very simple to duplicate Serios’s effects by mere trickery. But after Eisenbud replied, offering to arrange a demonstration of Randi’s alleged conjuring finesse, Randi quickly responded (in a letter dated October 8, 1967) that it would be impossible to arrange such a demonstration, because (he claimed) there was no chance of agreeing on the meaning of the terms ‘range of phenomena’ and ‘similar conditions’. So in his first attempt to change the subject and avoid making good on his boast, Randi dropped the issue of whether he (Randi) could duplicate Ted’s phenomena and instead shifted the discussion to the conditions under which Randi could test Serios himself.

Eisenbud replied to this evasion promptly on October 12, noting that it wouldn’t be necessary to duplicate Ted’s entire ‘range of phenomena’. It would be sufficient if Randi managed to duplicate the results obtained in ‘two or three clear, well-defined and well-documented experiments with Ted’. Eisenbud continued, ‘We need not, moreover, get hung-up over what constitutes ”similar conditions.” It would be sufficient if you used the identical physical set-ups as Ted with either the same observers (in the following suggested experiments a total of ten—all hard-boiled sceptics) or observers of equivalent background and training … The conditions of control of camera and film would merely have to be the same as those used with Ted—that is, with marked and initialed cameras and film under the surveillance of one or more of the observers’.

Eisenbud then suggested some clearly defined tests—for example, that Randi allow himself ‘to be stripped, clad in a monkey suit and sealed in a steel-walled, lead-lined sound-proof chamber’. Randi would then have an hour to ‘produce six identifiable pictures with the camera held and triggered by the observer’, and that if Randi chooses to use a ‘gismo’ like the rolled-up cardboard used by Ted, that immediately before the shutter is triggered the observer be allowed to look through the gismo’s barrel. Eisenbud then went on to describe, in an equally detailed fashion, two more tests successfully passed by Serios, including the conditions that Randi (like Ted) allow himself ‘to be stripped and searched, including a thorough inspection of body orifices . . . [and then] sewn into a monkey suit without pockets and . . . ankle and wrist cuffs will be taped’.

It’s regrettable, in hindsight, that Eisenbud proposed as well that Randi—like Serios—be inebriated for the trial (although Eisenbud wryly granted that Randi needn’t consume as much alcohol as Ted). No doubt Eisenbud made that proposal only to goad Randi and to emphasize the extent of the handicap under which Serios operated. Unfortunately, that suggested provision allowed Randi another distraction from his initial boast. He wrote back to Eisenbud, protesting that he didn’t drink, apparently believing that by rejecting this non-essential (if not frivolous) requirement he could justify totally withdrawing from the challenge. In fact, in Randi’s reply of October 20, 1967, he makes no other mention at all of his initial claim that the phenomena of Serios could be easily produced by trickery. Instead, he continues to write about arranging conditions for testing Ted himself.

Eisenbud immediately responded on October 23, offering to waive the alcohol requirement and once again requesting that Randi reply to the original issue of meeting the challenge to duplicate Ted’s phenomena. At that point, since Randi had no excuse left, it’s not surprising that neither he nor his representatives appeared at a New York hotel for a meeting Eisenbud had repeatedly tried to arrange.

And in subsequent correspondence, Randi again tried changing the subject, from the question of whether he (Randi) could do it (which is what the challenge was all about) to whether Serios could do it. That is, rather than follow through on his boast to reproduce Serios’s images under the good conditions in which Ted had succeeded, he disingenuously claimed that this was not the issue; what mattered, he said, was whether Ted could do what Eisenbud had claimed. And so Randi again simply side-stepped the challenge, knowing full well that most would be satisfied just knowing he claimed on national television and elsewhere that the Serios phenomena could be duplicated by simple trickery.

It’s worth emphasizing that drinking was nothing ever imposed on Serios; Serios did that quite voluntarily. Eisenbud’s challenge to Randi was to duplicate the phenomena under the good conditions imposed successfully on Serios. And that is something Randi has never done or ever publicly tried to do, and there certainly is no evidence of his having actually succeeded.

It’s also worth noting that to help prevent others from learning about the aftermath of his Today show boast, Randi prohibited publication of his correspondence on the matter. That was undoubtedly a shrewd move, because the letters show clearly how Randi backed away from his empty boast. But now that the correspondence is all in the Special Collections section of the UMBC Library, it’s been accessed by researchers and remains available for additional scrutiny. So if anyone doubts this account of the Eisenbud–Randi challenge and correspondence, it’s very easy to confirm, as many have already done.           

Postscript

Although work with Serios effectively ended after 1967, indications of Ted’s remaining abilities continued to surface from time to time. For an account of some informal tests conducted with Serios as late as 1999, see Braude 2007.8

Literature

Braude, S.E. (2007). The Gold Leaf Lady and Other Parapsychological Investigations. Chicago: University of Chicago Press.

Eisenbud, J. (1967). The World of Ted Serios. New York: William Morrow & Co.

Eisenbud, J. (1977). "Paranormal Photography." In B. Wolman (Ed.), Handbook of Parapsychology (pp. 414–432). New York: Van Nostrand Reinhold.

Eisenbud, J. (1989). The World of Ted Serios (2nd edition). Jefferson, NC: McFarland & Co.

Fukurai, T. (1931). Clairvoyance and Thoughtography. London: Rider & Co.

Gardner, M. (1981). Science, Good, Bad and Bogus. Buffalo: Prometheus Books.

Pilkington, R. (2006). The Spirit of Dr. Bindelof: The Enigma of Séance Phenomena. San Antonio: Anomalist Books. 

Source: https://psi-encyclopedia.spr.ac.uk/articles/ted-serios    

If you have ever written a word, you realize that it requires a certain type of labor. One must, to some degree, focus the mind, allow the whisper of thought to occur, and then move the muscles in your body to align these processes and actually manifest those thoughts and feelings through gesture. When we consider what we are doing when we write, the entire project falls nothing short of magical. Although note that I did not say "magic." Any writer knows that while the process is filled with tricks of the trade, words do not appear from nowhere nor do they appear without effort. For many, the line between effort and torment is notoriously thin. Who among us has not wished to circumvent the process entirely, but yet still produce those magical words? Who has not wished for the mind to "speak" directly to the page, meaningfully imprinting their own thoughts, feelings, and visions to the blank space? I suppose we believe that such an immediate and direct transfer would alleviate the struggle to make meaning.

Perhaps it is a bit of this desire for the alleviation of struggle that we see fueling the development of technologies like Google Glass, which while not technically a medium of writing, nonetheless attempt to re-script the world via a synthesis of mind, body, and machine. In a fantasy of a world-to-come, bridging the presumed gaps between mind, body, and machine results in a new, unfaultable empiricism. The fantasy desires a world of direct, "unmediated" communication. This is really nothing sort of desiring the presence-ing or manifestation of the ineffable, which we somehow imagine is a labor-free process.

Thankfully, The World Of Ted Serios: "Thoughtographic" Studies of an Extraordinary Mind (1967) by Jule Eisenbud, M.D. stands to correct this fantasy. Here, we meet a curious man named Ted Serios, who, if we are to believe Eisenbud and his reporting, has the capacity for transferring thought and vision directly to Polaroid film. Serios referred to his work as "thoughtographic" photography and the images that he produced throughout the 1950s and 1960s (his last image produced was in 1967. The image was of a curtain, which Eisenbud and others interpreted to mean the "curtain had fallen" on Ted's talent) resulted in a series of enigmatic, yet nonetheless fascinating images. Eisenbud, who was a practicing psychiatrist in Denver, Colorado and paranormal researcher, met Serios through the insistence of other paranormal researchers who felt that Serios could offer the paranormal field the long sought after gold standard of reproducible results. Despite Eisenbud's initial hesitation, he would go on to become both scientific researcher of Serios' powers, as well as documentarian and archivist of the visual artifacts produced. Serios' images are often of buildings or architectural shapes and, in many cases, they are too blurry to provide any easy image, but it's worth taking a moment to tour the images before you continue to read. While many of the photos contain a discernable image, there is also a considerable need for some apophenia if one intends to follow the story of Ted Serios.

The Jule Eisenbud collection on Ted Serios and thoughtographic photography
at the University of Maryland, Baltimore County.

Eisenbud writes of thoughography as a man with his feet in two different worlds, that of psychiatry and that of paranormal research, and The World Of Ted Serios spends a considerable amount of time trying to convince the reader that Eisenbud is both a reliable and legitimate narrator and that what we are about to witness is not a hoax. While obvious questions such as "why would this be possible?" arise immediately, the great white whale for the majority of the book is the legitimate proof of Serios' abilities. As Eisenbud writes, there is no dipping in the waters of paranormal research and by taking Ted as a research subject he's entered directly into the question of his own authority and legitimacy. The great legitimacy test, however, is rather tiresome and Ted, at many times, is the rather unruly subject, tormented by his own hit or miss abilities to produce images.

Serios, we discover, is a man with an alcohol problem and a sad past. He is a former bellhop who left school after the fifth grade and who may have suffered from traumatic abandonment. As Eisenburg accounts, he slept in his parents' bed until the age of eight when he was displaced by the birth of twins. Serios suffered recurrent nightmares about earthquakes or being pursued by a male authority figure. These nightmares persisted until he began his experiments with thoughtography, but they were promptly replaced by nightmares of being chased by a camera, "shaking as if in anger, its malevolent eye glaring at him from a fully extended bellows" (299). According to Eisenbud, Serios developed his thoughtographic abilities in the mid 1950s when a coworker discovered that Serios was a easily hypnotized subject. Under hypnosis, Serios was guided to explore the concept of seeing at a distance or "traveling clairvoyance", through which a medium attempts to mentally travel to other locations and have a look around. Through these sittings Serios became taken with the idea of finding hidden treasure and he was soon met with a "guide" from beyond. This guide was none other than Jean Laffite, the notorious pirate. With Laffite as a guide, Serios claimed to be shown the location of various hidden treasures (Eisenbud writes that Serios always maintained that there is a cove on an island off the coast of South Africa that contains Laffite's booty.) It was during his time "traveling" with Lafitte that a companion gave Serios a Polaroid camera so that he might better record these secret treasure maps. Sadly, Serios and his presumed talents were not met with the riches, fame, and glory he might have preferred. On the contrary, he developed a debilitating nervous condition and his attempts to disclose his work with camera were met with ridicule.

By the time that Eisenbud met Serios in 1964, Ted seemed to have made peace with his "powers", but he was nonetheless living a meager and estranged life. While the two seemed to have generated a working friendship, the book is a documentation of the trial and tribulations of the rather ill-fated pair. In order to "work", Serios demanded that he drink steadily and heavily and his dramatic process for producing the elusive thoughtograph was often punctuated by great commotion, failure, and naps. While the duo attempted several different configurations for creating the thoughtographs, the basic set up for Serios (in various stages of undress) to hold a polaroid camera in his hands or on his lap and employ a small "gizmo", which was a rolled up tube of black photo paper, to "focus" his psychic "energy" into the camera. Serios would then go into a state of intense concentration, "with eyes open, lips compressed, and quite noticeable tension of his muscular system. His limbs would tend to shake somewhat.... His face would become suffused and blotchy, the veins standing out on his forehead, his eyes visibly bloodshot" (25.) Cleary, whether hoax or not, Serios put on quite a performance.

Often these performances would result in what Eisenbud refers to as a "blackie" or a "whitie." Blackies were completely underexposed images that produced a fully black Polaroid, where whities were completely blown out white images, which would have technically been almost impossible to create given the lighting conditions. When Ted was "hot", however, he would produce dream-like images, often of buildings, street scenes, buses, or space rockets. Images of people seem to be absent from Serios' visual gallery. In his initial meeting with Eisenbud, Serios did indeed produce, after several failed attempts, an image of a marquee sign that read "Stevens." Eisenbud and his assistants recognized this sign as belonging to a former Hilton restaurant. It was sign that had not existed for more than thirty years. As we delve deeper into their relationship, we also learn that this sign has personal significance for Eisenbud as "Stephens" is the name of close, medical colleague. Eisenbud will eventually come to believe that Serios' images are not only visual images, but forms of communication that speak in the condensed language of dreams.

Inevitably, Serios and Eisenbud attracted several skeptics, particularly around the use of his gizmo, which was seen to be the obvious source of Serios' ability. James Randi and others speculated and subsequently proved it would have been possible for Serios to create these dreamlike images with the use of a small transparency placed at once end of the gizmo.

Serios, however, often submitted himself and his process to methodological constraints. He was stripped at times, placed in a Faraday tank, and often asked to produce a "target" image or an image that he had no knowledge of and that was sealed in a envelop. Serios did indeed produce "hits" under these conditions.

The manipulation of film always invites comparisons with the histories of paranormal and Spiritualist photography—a history replete with fraud and fakery—and Serios' work is yet another chapter in the ongoing desire to "capture" psychic ability in a medium that we assume provides empirical proof. Surprisingly though, discussions of the Polaroid as Serios' chosen medium are missing from Eisenbud's book. We are introduced the basic mechanics of the film and the camera, but the book never takes up the questions of "why Polaroid film or why this medium?" Rather, we find Eisenbud engaging in rather long-winded analyses of the symbolism of the Serios' images and the manner in which they may or may not be communicating. Eisenbud devotes a considerable amount of time to trying to develop a theory of the source of Serios' images, speculating that theories of the mind are far too limited and narrow to truly understand the ways in which mind and matter are entangled. For Eisenbud, the mind is a distributed mind, which can never be located firmly in the brain. Taking comfort in the reports of out-of body experiences, Eisenbud posits that it is possible that images Serios produced are a direct communication of an unbounded portion of Serios' mind. For Eisenbud, this accounts for why some of the text in the images has been misspelled, for example where the word should read "Canandian", Serios has produced "Cainada."

View The World Of Ted Serios: "Thoughtographic" Studies of an Extraordinary Mind in the catalog here.

Read other Word Processor essays.

Source: https://www.reanimationlibrary.org/pages/wpgregory

La Transcommunication Instrumentale connue sous l'abréviation TCI ou ITC en anglais désigne la technique de communication avec les morts en utilisant les moyens de communication modernes (télévision, ordinateur, radio, téléphone portable, etc...). On regroupe dans la TCI les EVPs (Electronic Voice Phenomenon) c'est-à-dire les enregistrements de voix sur des magnétophones et les VDRs (Voix Directe par la Radio) généralement réalisées sur des postes radios à lampes des années 50.

La vidéo présentée ici raconte l'histoire extraordinaire d'Adolf Homes. Un jour, ce représentant allemand de 50 ans apprend par la radio qu'il est possible d'enregistrer la voix des défunts sur un simple magnétophone. Adolf Homes n'a jamais connu sa mère, elle est morte en lui donnant la vie. Il décide alors d'expérimenter la transcommunication instrumentale et d'entrer en contact avec Caroline, sa mère.

Dès lors, il lui faudra attendre un an avant d'obtenir les premiers résultats. A partir de ce moment, Adolf Homes reçoit des réponses à chaque tentative et, il finira par entendre la voix de celle qu'il attend depuis si longtemps. Les phénomènes vont croissants : des voix apparaissent maintenant directement sur son poste radio. Sa femme Rosi apprend le décès de son père sur l'écran de l'ordinateur, avant que l'hôpital où il séjournait ne la prévienne. Devant l'ampleur des contacts, Adolf Homes décide d'arrêter, au moins temporairement les communications, quand il reçoit sur son téléphone portable un appel de sa mère qui l'invite à allumer sa télé le lendemain : Mathias Schmitt, le père de Rosi veut entrer en contact. L'aboutissement de ces expériences surviendra le 3 juillet 1988 : le visage d'une femme apparait sur l'écran de la télévision. Pour Adolf ça ne fait aucun doute : c'est le visage de sa mère. Ce visage qu'il n'avait jamais vu, qu'il attendait !

Pour les scientifiques, la TCI n'est qu'une capacité mentale développé de troubler les bandes magnétiques, les ondes ou le spectre de la télévision. Pourtant, malgré le scepticisme de la science, de nombreuses techniques ont été tentées depuis les années 30 pour capturer la voix des esprits, et aujourd'hui on compterait plusieurs dizaines de milliers d'expérimentateurs obtenant des résultats de contact par EVP.

Source: http://lepaysdapres.eklablog.fr/adolf-homes-emission-mystere-a3513265

Photographs from Beyond

Stella Lansing was a middle-aged housewife from Massachusetts  who in 1961 began experiencing strange, and otherworldly events that over time led her down a bizarre path of UFOs, Strange humanoid creatures, Men In Black, and visions of other worlds. Most of which she managed to capture on different types of film. It all began in a cool September day in 1961 when Stella noticed a bright hovering orb outside her home in Northampton, Massachusetts. The object hovered at tree line level off in the distant sky before zooming closely to her, stopping in mid-air between her house and her neighbor’s garage.

The object appeared to be observing her, before it suddenly zoomed towards where she stood. It hovered only yards away from her, before shooting away and disappearing.​ Although another four years would pass by before another encounter, she would soon start to see these mysterious objects more and more regularly. That terrifying incident, although short, marked the beginning of Stella’s journey.

While driving to a friend’s house to deliver candles to them in the middle of the blackout, Lansing would see the orb-like object again. She was alone on the road, except for the orb that appeared to follow her, weaving in and out of the telephone poles along the way. Out of nowhere, a dark car appeared on the road alongside her. For reasons she couldn’t explain, she believed that the orb was “driving the car!” 

It eventually pulled over to the side of the road and came to a stop. Lansing kept her vehicle moving, noticing that the orb had also changed direction, and was now heading over the fields that ran alongside the highway. She kept the orb in her sight until she could no longer see it, and then carried on to her friend’s house. Incidentally, many researchers have drawn connections with strange UFO sightings and the East Coast blackout.

The black car then rolled off the highway, down a hill to a standstill. As Stella slowly drove past it, she got a sense that the occupants of the car were looking as the bright orb suddenly dipped below the telephone wires and into a nearby field. From there, Stella saw the light fly northwest before flaring  up into the dark sky. She kept her car moving until she reached the safety of her friend’s house. Two years passed and Stella continued to see strange lights in the sky that at times would follow her. She had mentioned her experiences only to her family and close friends by the mid to late sixties. Still unaware of what these lights were or what they wanted, she would never imagine what horrors would soon come to visit her.

However on Halloween night, 1966, the experiences took a terrifying turn. Stella had a terrifying encounter with a strange, grotesque creature.  Stella brought her car to a stop in a parking space overlooking the lake. It was just as she was about to switch off her headlights that she saw a strange figure emerge from the water. Quickly reaching hysteria levels of panic, all that Lansing would recall with any detail later, was that the figure “was wearing a black skullcap!” Scared out of her mind, Stella punched her car in reverse and pulled away from the shoreline that was uncomfortably close. In the panic of things, she managed to see that that humanoid-looking thing had crawled its way onto shore and began running towards a peninsula that was about sixty meters away from her house.

As Stella adjusted her car and headlights to shine towards the location the creature scurried off into, she saw a basketball-sized orange orb of light. Surrounding it was a fuzzy mist. The light glowed dimly and the hairs on the back of her neck stood on end. Without warning a large, brighter orb of light suddenly swooped down behind her house and then flew low across the water. The red bright object was seen by Stella’s two teenage neighbors who had seen the bright light come from the sky above and swoop down by the lake. Not far behind them was Stella’s family. They were completely oblivious to the bizarre phenomena happening just up the road. Although Stella had been attempting to capture pictures of these objects for some time, following the Halloween encounter by the lake, she obtained an 8mm camera. If she simply recorded the events, then she would surely catch more of what she was seeing for analysis.

Stella happened to once again see strange lights. It was on the night of February 18, 1967, that Stella stopped her car on Route 32, near the intersection of Warren road and Flynt street. She got out of her car to get a better look at the light. She noticed that another passenger car had pulled off the road and the driver too had gotten out due to the odd nature of lights. It was on 18th February 1967 – almost three months since the Halloween encounter – when Lansing used the 8mm camera in an attempt to capture the strange orb phenomena she had been seeing since the start of the decade. Driving along Route 32 in Northampton.

It was on April of 1968 that Stella finally purchased a Bell and Howell projector of her own. A new piece of technology that allowed her to slow down the footage she shot that fateful night to two frames a second. Revealing unnerving images she had failed to see before. The bright object she filmed on that desolate road that night in 1967 contained a few frames of the heads and torsos of strangers. Strange men in what Stella believed to be a craft of some sorts. In one of the images of the orbs from Route 32 in February 1967, Lansing could clearly see the heads and bodies of strange men. She would later say, “I never saw the people when filming it. I can’t tell you what object they came out of or what they were in. 

The only thing I could think of is that they must have come from the soft white object!” According to Lansing, this white craft remained hovering over them all the while she was filming. The four strange men that Lansing had captured would become known as “The Occupants!”

By 1970 she had been already taking photographs that contained strange lights or structures superimposed on them. A mysterious clock-like pattern also began to appear on her films and photographs. Strangely enough, they geometric patterns appear on the film itself, overlapping the frames of the footage.  However remarkable these images appear at first glance, no official investigation was done on Stella’s claims and impressive evidence. There had been no real interest until one day in 1971 when Stella walked into a UFO conference and told her story to a Dr. Berthold Eric Schwarz, M.D.

In 1971 – a decade since the orbs had first made themselves known to Stella, she would meet Dr. Berthold Eric Schwarz at a UFO conference. Dr. Schwarz had a keen interest in the paranormal – including ufology – and was extremely interested in what Lansing had to say. Particularly when she offered to show him the proof of her claims in the films she had shot. Schwarz performed extensive medical, physical and neurological examinations of Lansing – all of which came back perfectly standard and normal. 

However, he soon learned that years of sightings and being witness to strange activity had more than taken their toll on Lansing, mentally. So much so, that she had voluntarily entered the state hospital for psychiatric evaluation in 1967. It was determined during her stay there – at least by the doctor in charge of her case – that she was a Paranoid Schizophrenic. This caused her to suffer hallucinations, which resulted in the sightings of UFOs. Far from being crazy, this really showed Stella to be perfectly normal given the years of strange events she had seen.

The incident that night lead Dr. Schwarz to believe that something unexplainable was happening to Stella and that it was in no way a cleverly done hoax since the distant UFO lights had no way of being projected onto the night sky. Dr. Schwarz even refuted claims by many that they were subjects of a mass hallucination. An explanation that is often used to explain multiple witnesses sighting the same phenomena. An impossible hypothesis since there exists no such thing as mass hallucinations.

Most of our members know about the Scole Experiments. The four members of the Scole Experimental Group (Sandra and Robin Foy and Diana and Alan Bennett) sat over a period of four years. The Spirit Team at Scole was prolific, using a new spirit-world technology that did not require the use of ectoplasm for the production of physical phenomena. Phenomena included solid spirit beings and fifty small objects received as apports. People, such as psychic researchers from the SPR, witnessed physical phenomena including pictures, handwriting, symbols and messages that appeared on factory-sealed unopened photographic film.

The phenomenal success of the group and their Spirit Team resulted in the book, The Scole Experiment, by Grant and Jane Solomon and 32 issues of The Spiritual Scientist Bulletin, a quarterly magazine, which was temporarily retired with the Winter 2002 issue.

With the sadness of seeing the last publication of the Bulletin also came excitement. The Scole mediums Diana and Alan Bennett have been exploring their own particular interests in psychic phenomena and healing. They felt that they owed so much to those in the higher realms and knew in their hearts that they would continue to experiment in one way or another. Alan wrote, “I have always seen in my mind’s eye, a phoenix rising from the ashes with renewed vigor to live through another cycle. Diana has always had that wonderful gift of ‘far sight’ and receiving guidance in her dreams, so it was no surprise when she told me that she had ‘seen’ the two of us working together again. She was told how we should take the first step in the form of a shared experience. We followed her vision of a simple experiment using a crystal, where the two of us linked together mentally and shared a journey of exploration.

“This experience was incredible; as we were both shown such wonders and places. We were guided by a sentient being through a wonderful ‘magical mystery tour’ where we met another being whom we conversed with. Through several other forms of communication, we were shown how to set up an experiment that would, they explained, enable us to glimpse into other worlds (dimensions). We found that it was necessary to continue to follow our intuition, and to be ‘guided’ by them, if we were to achieve satisfactory results. It has required total dedication and perseverance as well as an open but still discerning mind.

“Before I continue, I would like to mention one very important factor, and that is that old chestnut ‘total darkness.’ We were ‘guided’ to do this new work in full light. After so much criticism in the past regarding physical phenomena obtained in total darkness, we decided that we would only continue to work as mediums in full light. This has proven not to be prohibitive in anyway whatsoever, as we have achieved very encouraging results.

“These experiments are primarily attempts to see into, and capture, visions of other dimensions of existence. To be more precise, these visions are more like frozen images or pictures, of different moments in time as we look into these dimensions.”

Since that first experiment, the Bennetts have conducted many more experiments, progressing and building on what they have learned. Alan told us, “It seems that the possibilities are endless, as we modify and introduce other equipment into the experiments. The experiments are based on the idea that there are dimensions not only beyond our own but within them also. By using a combination of electronic and photographic equipment coupled to image enhancement computer software (for magnification purposes only), we have been fortunate enough to obtain fleeting glimpses into these ‘other’ dimensions during our experimental sessions. The experiments also require focused visualization by the two of us to create a central focal point for the experiment.”

Diana writes, “The images pictured here were obtained with the use of an ordinary camera and a good lens (not digital). The process requires us to strategically place crystals, according to instructions given by spirit. (This varies with each experiment.) Light is focused over the crystal area, some through mirrors, colored filters and/or reflective surfaces. We intuitively know when it is the optimum time to take the picture. When the pictures are developed, they are digitized, enlarged and then examined using Photoshop. As you can see, the images and colors are fascinating. Sometimes, the images take up most of the frame sometimes only a small part.”

What excites Alan is that, “this new approach is only now possible with the advancement in electronics and the related computer technologies. Therefore, where will we be and what will we discover in the years ahead?”

We are very excited to be able to report on Diana and Alan’s work and thank them for sharing some of the results that they have achieved.

We are pleased to be able to share with you some of our more recent work in the field of ITC imaging. Since our Scole Group days, Diana and I have been continuing our work in trans-dimensional imaging. As some of you may know, this new work has taken us on quite a different path from those interesting experiments back in ‘96 – ‘97. In those days we relied entirely on ‘spirit’ communication for direction, now it is a combination of communication and (more recently) allowing our ‘higher minds’ to guide us.

We have felt for some time that the chances of getting good results are greatly improved if we offer as many variables as possible within the experimental framework. By this we mean, thinking of the experiments themselves as multi-dimensional and not just a singular attempt to get a singular result. We firmly believe that by supplying a randomized source of material for the ‘other side’ to use, we (and they) stand a far greater chance of success. Having found a working ‘formula’, we then attempt to get repeatable results until inspired to change direction.

Faces seem to be the most common results up to this time. From the many images we have, around 90% are faces, or parts of faces. Sometimes the images are very small, so we cannot overemphasize the importance of studying in detail when checking the results. Our current experiments mainly take the form of a joint meditative session, where we raise our consciousness and focus together on our objective for that experiment. The equipment is pre-configured and ready to run, allowing us to focus on providing the best energy conditions. We usually have several ‘takes’ during a typical session, again leaving it to what feels right.

Crystal Imaging

We have carried the ITC work of Diana and Alan Bennett in the NewsJournal a number of times. Through their presentation at the 2006 AA-EVP conference and through the Updated Edition of The Scole Experiment: Scientific Evidence for Life After Death, we are able to share more of their fantastic results as well as information on their experimental methods.

The Bennetts are experimenting with refraction and reflection of light as a means of conditioning optical energy for image formation. As they explained in the updated version of the postscript of The Scole Experiment, “With our light experiments, we generate a vast spectrum of color and intensities bypassing the light source through a crystal. This source itself is variable, which, in turn, causes many different light patterns and colors to be formed. Some of the light frequencies generated are of course beyond our own visible spectrum, so the resulting light contains much more information than we realize.

“We may include a mirror between the source and the crystal (focus) or beyond the focal point, allowing the light to flood back onto the subject. Apart from ordinary mirrors, we have used convex and concave mirrors to very good effect. We have also experimented with polished metallic disks such as brass (yellow) and copper (red), which have created some of the more striking images.”

As you can tell from some of the pictures taken by the Bennetts, they may use water along with a mirror. The camera that they presently use is a Fuji FinePix set on Fine (4048 x 3040 pixels), which produces a computer file of about 12Mb. They focus a concentrated light source onto the side of a crystal and then capture images. The resulting images must be studied in the minutest detail and may have to be magnified as some of the faces can be very small.

The examples shown here display the flaws, facets and textures of the natural quartz crystal used in the experiment. Keep in mind that these characteristics of the crystal may help to make the phenomenal features possible, so a perfect crystal may not be desirable.

The apparent scale of the imperfections should give you some sense of how much the photograph has been enlarged to display the phenomenal feature. Also, the great enlargement is supported by very high-resolution cameras. While the Bennetts are recording files of 12Mb per picture, a video camera will only produce a file of 0.9Mb which will not support such drastic enlargement.

During the conference, the Bennetts strongly suggested that people who plan to work with this technique should also consider the spiritual aspect of the experiment. As world-class mediums, they have learned that contact is often a function of the experimenter’s spiritual attunement.

Chers lecteurs. En 2012, j'ai publié ici sur ce blog, un texte et des messages audio, pour tenter de calmer certaines personnes qui pensaient que notre planète Terre subirait le 21 décembre 2012, un impact entre notre planète et une autre venant vers nous. J'ai essayé seulement à l'occasion de transmettre ce que mes communicateurs m'ont dit à travers les audios. Que rien ne se passerait à cette date. En fait il ne s'est rien passé. A l'époque, les Communicateurs m'avaient alerté du soleil. Attention aux éruptions solaires.

Le 5 janvier de cette année-là, 2014, les "Comunicantes" ont envoyé dans mes séances de transcommunication instrumentale, à travers des captures d'images, un paysage très intrigant. Quelques jours après la capture de ces images, j'ai remarqué que la science avait confirmé en 2013 qu'une forte explosion solaire était sur le point de se produire. Par conséquent, j'insiste sur le fait que nous devons utiliser ces messages avec équilibre. Nous ne devons pas transmettre la terreur à l'humanité. Il faut plutôt attendre d'abord la confirmation de la science pour ne pas tomber dans les déceptions des esprits menteurs. Lorsque j'ai reçu cette capture de mes communicateurs, j'ai réalisé qu'elle coïncide avec l'actualité dans les médias à l'époque actuelle. Dans ce paysage, je vois une certaine turbulence et cela peut même être interprété comme ce phénomène, sur une autre planète, semblable à la terre d'un autre système solaire. 

 J'ai envoyé ces images capturées, dans certains groupes, avec des thèmes sur TCI auxquels je participe sur facebook le même jour où je les ai capturées lors de ma session de transcommunication instrumentale. Juste pour que les amis confirment cette séquence d'images capturées par moi, ressemblant d'abord à un paysage où l'on peut voir : Espace, planète, éruptions solaires, mer, ciel et terre. Se terminant par une plage déserte. Je crois que mes "Communicateurs" m'ont donné les informations correctes lors de la confirmation de la science et j'avertis les lecteurs de cette page. Nous ne savons pas quand cette tempête solaire massive se produira. Tout ce que nous savons, c'est qu'il n'y a pas de bonne prévision pour le jour, le mois et l'année et que la science ne pourra se faire une idée que huit heures avant l'événement, voire plus. Donc, comme un tremblement de terre dont vous ne pouvez pas prédire quand il va se produire.

Les « communicateurs » et les scientifiques sont désormais d'accord avec leurs prédictions. S'il vous plaît, ne paniquez pas ! Faisons juste attention aux dommages qui peuvent arriver aux équipements électroniques et essayons également de ne pas gaspiller l'eau. Car, en cas de panne d'électricité, nous n'aurons pas assez d'eau pour les jours sans électricité. Je crois que les autorités des gouvernements mondiaux prennent déjà leurs mesures pour ne pas manquer d'électricité pendant longtemps. Cependant, nous devons également faire notre part, en essayant d'être plus prudents avec notre planète. Nous traversons une transition planétaire depuis un certain temps et les tempêtes solaires deviennent de plus en plus intenses et avec des fréquences plus élevées. Dans certaines régions, le froid tue et dans d'autres, la chaleur est étouffante. On ne sent plus l'équilibre des saisons. Si on fait bien attention, Le Brésil était un pays exempt de tremblements de terre, cyclones, tornades, ouragans et tsunamis et actuellement, il n'est plus à l'abri de ces chocs produits par la force de la nature. L'année dernière, en 2013, plusieurs tremblements de terre ont été enregistrés à Rio Grande do Norte, dans la ville de Pedra Preta, qui ont atteint une magnitude de 3,7. Cela s'est produit dans plusieurs États et villes du Brésil. Comment j'ai transcrit la transimage ci-dessous pour certains transcommunicateurs

" Retour dans le passé. Séquence d'images capturées par moi. Méthode Klaus Schreiber. Séquence d'un paysage. Planète Terre ? Si c'est le cas, je vois des turbulences. Si ce n'est pas notre planète, il y a de l'eau dans un autre par là... ou alors tout d'un coup ce n'est plus rien. Je ne vois aucun visage dans ces images seulement : Espace, sphère, ciel, mer et terre. Dans l'un des cadres je vois une explosion solaire. 

Note : Je n'ai utilisé aucun type de lampe pour cet enregistrement . J'ai juste dirigé la caméra directement dans mon programme de caméra. Effet tunnel. Comme je l'ai dit au début, la méthode de Klaus Schreiber. Ce n'est peut-être pas n'importe quoi mais j'ai pensé que c'était intéressant pour sortir cette technique de mon coffre."

À ma sensibilité, j'ai trouvé cette séquence d'images intrigante. J'ai reçu des courriels de chercheurs qui trouvent difficile d'utiliser la méthode de Klaus Schreiber directement sur l'ordinateur sans être utilisée à la télévision. C'est simple: L'appareil photo doit être séparé de l'ordinateur. Une webcam avec le propre programme de l'appareil photo installé sur l'ordinateur. 

L'ouverture du programme sur l'ordinateur dirige l'appareil photo directement vers le programme sur le moniteur. Avant de commencer l'enregistrement du film, examinez les commandes de luminosité et de contraste à la fois sur le moniteur et sur le programme de la caméra pour l'effet tunnel qui montre les explosions. Après cela, il commence à enregistrer (film) pour une durée d'une à deux minutes. Il ne sert à rien de prendre des photos avec cette méthode car le film passe très vite. Une fois l'enregistrement terminé, extrayez les images du film dans des programmes pour extraire des images. J'utilise Smart, étant habitué à ce programme depuis tant d'années. Il doit y en avoir d'autres encore plus modernes. Lors de l'extraction des images dans un nouveau dossier, commencez à visualiser les images une par une. Parfois, nous devons voir 400 images pour voir si une image paranormale apparaît. Cela dépend de la durée du film.

Exemple en pratique : Un petit test de cette technique pour démonstration. À ma grande surprise, je vois une image capturée à partir de ce film d'essai. Un homme avec une longue barbe et des cheveux blancs. Voir la vidéo. Image extraite de cet enregistrement également ci-dessous.

Bilder aus dem reich der toten

Citation de "Images de la demeure des morts", p.33. « Avec un simple magnétophone. L'auteur a d'abord été confus lorsqu'il a entendu la voix de Karin, sa fille décédée et qu'il a identifiée, se faisant passer pour "Karinchen", c'était comme le père l'appelait toujours dans son enfance. "Je vais bien, vivant", a-t-il déclaré. Même Gertrude, sa mère a entendu sur les cassettes : « Ils vivent tous ici », a-t-elle dit un jour. Les voix paranormales de Klaus Schreiber ont une structure similaire aux messages qui sont déjà disponibles pour des milliers de personnes dans le monde. 

Images du livre "Images du monde des morts" (Bilder aus dem reich der toten) de Rainer Holbe, de Knaur Editorial. 

Comme l'ont rapporté les contacts de là-bas qui arrivent après le suicide, aucune personne avec des parents ou des amis décédés n'est indisponible parce qu'elle a besoin d'une assistance spéciale. 

Presque chaque jour, Schreibe rencontre de nouveaux visages inconnus.

Citation "Images de la demeure des morts", p.94. "Klaus Schreiber a clairement entendu la voix de son père, dans les premières expériences sur bande." Il n'a pas perdu son caractère robuste. Cela s'entend clairement dans sa façon de parler. Mon père voulait que nous enseignions toujours quelque chose de nouveau aux enfants. Lui dans le "là" a encore ce trait. Il me donne des explications techniques et contribue à améliorer un meilleur contact."

Robert Schreiber, était également le fils de Klaus Schreiber, décédé à l'âge de 22 ans dans un accident de moto.

Ici, votre fils est montré sur l'écran du téléviseur (la petite photo est une photo de son vivant)

Citation de "Images de la demeure des morts", p.125. Lors d'une conférence des chercheurs EVP à Boppard, Mme S a également rencontré Klaus Schreiber. Elle lui a demandé une fois de reprendre la vidéo et de contacter sa fille. Chez lui, un peu plus tard, il a trouvé une voix enregistrée : "Hella is coming", l'auteur a alors vu des éclairs de lumière habituelle sur le moniteur. Il appuya sur le bouton pause, scanna le groupe et trouva le portrait d'une jeune femme. Il ne l'avait jamais vue de sa vie, il soupçonnait que c'était peut-être Hella. Lorsque Mme S a ouvert la lettre, elle a immédiatement reconnu sa fille décédée. »

Citation de « Images de la demeure des morts. P.69. « Les déclarations de ma défunte fille Karin sont désormais sur toutes les cartouches. C'est elle qui me contacte à partir de là et elle me donne également des notes techniques précises sur mes enregistrements audio et vidéo.

p.45…. Ils n'arrêtaient pas d'entendre les sons : « Klaus, nous sommes à la télé », ou « nous sommes en vidéo », Schreiber a toujours dans sa bibliothèque audio les déclarations paranormales suivantes « la vidéo est technique », « Klaus joue la vidéo, nous sommes là , diffusez la vidéo à la télévision sur une chaîne vide »… La voix de sa fille était plus précise : « Je n'ai pas de couleur, mais j'en ai en noir et blanc, sinon elle ne nous reconnaîtrait pas ». Klaus Schreiber : J'étais donc avec mes amis du monde, comme un enfant qui apprend à courir. Je suis progressivement allé de l'avant et j'étais sûr que ce serait des jours de travail. La caméra pour enregistrer et la télévision dans une chaîne en noir et blanc et en programmation. Un matin, il y a eu une percée. Un petit point blanc est apparu sur l'écran qui n'a pas changé, et les enregistrements ont été utilisés pour entendre une déclaration : "C'est par là qu'il faut commencer." L'auteur a reconnu une image clignotante pendant une fraction de seconde. Une fois de plus, il est allé aux notes des enregistrements: "image fixe!"... L'auteur a pu rembobiner la bande vidéo, il a appuyé sur le bouton d'arrêt. Il reconnaissait clairement le portrait d'une femme à cette époque. Klaus Schreiber a acheté un deuxième enregistreur le même jour, c'était une affaire difficile à gérer, mais il avait besoin d'un appareil pour enregistrer des images encore et encore, mais finalement il a jeté son dévolu sur les dernières minutes de cet enregistrement.

C'était Karine. Il était clair que c'était ses traits de visage, c'était sa fille qui est décédée à 18 ans."

Citation de "Images de la demeure des morts", p.110. «Je me suis assis devant mes appareils et j'ai nommé Agnès et Karin. Au bout de 4 minutes, j'avais des réponses claires sur la bande."

Source: http://engelfilm.underground-channel.de/tod/tote.htm

Claus Schreiber a reçu des conseils de personnes de l'extérieur via EVP pour améliorer les expériences vidéo.

Claus Schreiber était un Allemand doté de puissantes capacités psychiques qui étaient latentes jusque dans les années 1970-80. Après avoir entendu parler du phénomène des cuillères pliées, elle est allée dans la cuisine, a sorti une cuillère du tiroir et l'a essayée. À sa grande surprise, après quelques mouvements doux, la cuillère se pencha dans ses mains comme si elle avait fondu. En peu de temps, il avait plié une variété d'objets en argent, ainsi qu'un vieux fer à cheval.

Il a commencé à expérimenter l'enregistrement de voix et a immédiatement commencé à enregistrer les voix de plusieurs de ses proches décédés. Maintenant, il était désespérément enthousiasmé par la recherche paranormale, en particulier dans la communication spirituelle, alors un laboratoire a été ouvert au sous-sol pour les expériences audio et vidéo.

Au milieu des années 1980, M. Schreiber est devenu la première personne de l'histoire à recevoir des images paranormales directes dans un cadre expérimental. Ils sont passés par sa vieille télévision en noir et blanc. Cela a commencé par des expériences de rétroaction vidéo plus élaborées produisant d'étranges motifs de brouillard sur l'écran de télévision, et des images se sont formées au milieu du brouillard - des images de membres de la famille décédés, d'étrangers et de célébrités - telles que des images du physicien Albert Einstein, de la star de cinéma allemande Romy Schneider et sa propre fille Karin, décédée en bas âge. Karin est apparue sous la forme d'une figure féminine vêtue d'un chemisier sombre et d'une jupe blanche, la tête baissée, et est très vite devenue la première partenaire de recherche de son père,

Claus Schreiber est décédé en janvier 1988 après une deuxième crise cardiaque. En quelques mois, il a commencé à envoyer des photos et des messages à ses anciens amis et collègues sur Terre, y compris une photo de lui-même dans une maison des esprits, a rapporté qu'il vivait avec d'autres membres. de la famille Schreiber aujourd'hui décédée.

Une nouvelle image. En 1994, le 13 octobre, une image avec du texte est arrivée à Luxenburg, (Harsh-Fischbach) par Claus Schreiber. Il a montré une photo d'un jeune homme noir en compagnie de l'actrice Romy Schneider. Dans le texte d'accompagnement, M. Schreiber décrit comment il a rencontré les deux lors de ses voyages de découverte le long du lac de l'éternité et a pris des photos d'eux :

Source: http://www.worlditc.org/