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Rorschach Audio and the electronic séances of Prof Imants Baruss

Recent chatter about “Rorschach Audio” criticizes the book for failing to take into account the work of Imants Barušs, a Professor of Psychology at King’s University College – a Catholic college affiliated to Saint Peter’s Seminary in Western Ontario. Checking on-line reveals that books by Professor Barušs include “Science as a Spiritual Practice” (2007) – a book which “argues that there are problems with materialism and that self-transformation could lead individual scientists to more comprehensive ways of understanding reality”; and “Authentic Knowing” (1996) – a book which “tries to show how science and spiritual aspiration converge on fundamental questions about the nature of consciousness and reality when authentically pursued”. “Authentic Knowing” includes “chapters about authenticity (what it means to be true to oneself), science (what happens when science encounters the sublime), transcendence (the promise of enlightenment), theory (a theosophical model of reality), and self-transformation (adventures and misadventures of a spiritual aspirant)” (emphasis added). Maybe the problem with materialists is that we’re “inauthentic”? Either way, in terms of perspective, anyone who’s interested in Martin Heidegger’s concept of “authenticity” would be well advised to examine the context of Heidegger’s treatment of the phenomenologist Edmund Husserl.

With regard to the specific research “Rorschach Audio” failed to take into account, Professor Barušs published a paper called “An Experimental Test of Instrumental Transcommunication” (Journal of Scientific Exploration, 21/1, pages 89–98, 2007) and a paper called “Failure to Replicate Electronic Voice Phenomenon” (Journal of Scientific Exploration, 15/3, pages 355-367, 2001). The term Instrumental Transcommunication (ITC) is used to refer to various forms of technologically mediated (ghost-in-the-machine type) research into alleged supernatural phenomena, similar to and including Electronic Voice Phenomena (ghost voice) research (EVP).

The later paper refers back to the results of the earlier study, in which Professor Barušs conducted 81 EVP recording sessions between 1997 and 1998. The later paper describes the earlier EVP experiments as producing “no anomalous sounds”, and describes how (citing work by BF Skinner first referred to by “Rorschach Audio” publications in 2004) Imants Barušs “realized that seeking communication with beings in other dimensions through the generation of EVP was unlikely to yield convincing results… because acoustic sensory data are too perceptually malleable”. That’s certainly true, but the additional possibility is that EVP experiments are unlikely to yield convincing results because ghosts and beings from other dimensions simply don’t exist? That question is never even asked. Either way, if, as described, any EVP experiment failed because “no anomalous sounds were heard”, then the issue of whether sounds are “perceptually malleable” or not is irrelevant (because the experiment produced “no anomalous sounds”). Nonetheless, as a result of the failure of his EVP experiments, Barušs moved on to the subject of the later paper – the use of “computerized pseudorandom text… to see whether anomalous meaningful phrases would occur in printed text…” with “a medium present during the ITC sessions”.

Imants Barušs states that although “there is no consensus as to whether or not someone with such (mediumistic) abilities would enhance the production of ITC… if anyone could be helpful, it seems to me that it would be a poltergeist, as in the case of William O’Neill”. Since the existence of both poltergeists and genuine mediumship have never been conclusively proven, such assumptions are contentious enough in themselves, but (as described in the “Rorschach Audio” book, pages 137 to 138) the William O’Neill mentioned was an electronic technician and alleged psychic who devised an EVP technology called Spiricom, marketed by a millionaire industrialist called George Meek, which was allegedly designed in consultation with the ghost of a scientist called George Mueller! The Spiricom technology allegedly enabled users to engage in real-time conversations with ghosts, but is widely regarded, even by hard-line EVP supporters, to have been a complete fake… so why William O’Neill is being cited in this paper is a bit of a mystery.

The King’s University College experiment involved putting questions to alleged ghosts out loud, which it was thought might then be “answered” by text produced by ghosts influencing subsequent activations of the computer system – thereby, so-to-speak, “updating” the working-methods of a traditional séance. Readers are asked to accept the claim that the medium involved in this experiment has “a reputation for obtaining correct anomalous information about the deceased” on the basis of zero evidence.

Unsurprisingly “the random character generator did not produce any identifiable anomalous text”, so what’s described as the “random word generator” was then used, to choose items from “a set number of words, ranging from 1 to 500, from a pool” which were “printed… as a block”. In fact “the pool contained 176 words” which the experimenter had “thought to be useful”. So, in reality the “random word generator” was neither a generator nor strictly random, since the system chose rather than generated words, from an extremely small, pre-selected (therefore non-random) source pool – a pool which is not made available to readers of the research paper, but which just happens to have included terms like “ITC”.

Nonetheless, despite the experimenters asking questions to the putative ghosts like “what would you have us do to make this work better?” and receiving “answers” like “we ITC dimension fortunate when irreparable continue… feel acquire light figure logical people continue… equipment are underlie add for coming giant”, Professor Barušs should be congratulated for honestly acknowledging that such a reply “does not have a single obvious meaning, nor is there any evidence that such a ‘sentence’ is any less random than the apparently random character strings”. During these sessions EVP recordings were also made, but “the results of analyzing the audio recordings were inconclusive at best, as they had been in the previous study”.

Looking at some of the on-line trolling, I get the impression that someone feels it’s important to show that other researchers beat “Rorschach Audio” to it, in terms of debunking EVP. If that’s the case, or if it isn’t, fine either way. As a case in point it is interesting that Imants Barušs tried, many times, to replicate EVP, but, even though his work on EVP was published after the early “Rorschach Audio” articles, the challenge that “Rorschach Audio” set itself was not so much to “prove” that beliefs based on self-evidently ridiculous experiments stem from results that may prove hard to replicate. Like the audience members who laugh out loud when I play-back excerpts from Konstantin Raudive’s EVP recordings at lecture-demonstrations, by way of an example, “Rorschach Audio” takes the factual false-hood of Raudive’s claims as a given. “Rorschach Audio” does not so much focus on the mechanisms of Raudive’s experiments, as on the mechanisms of Raudive’s self-deception, and, having done so, the book goes on to explore dozens of other subjects and in some cases to debunk other beliefs.

Going back to the paper in question however, with regard to what one might in this context call the politics of listening, Imants Barušs concludes that “any obvious establishment of electronic access to the deceased, should such access become possible, could upset various individuals who have a vested interest in the retention of particular materialist or religious ideologies. It is certainly the case, for example, that there is little tolerance for ITC research among mainstream scientists. This could also be a reason why stronger results are not possible at this time”. It is interesting that Professor Barušs seems to imply he doesn’t consider himself to be a mainstream scientist, and it is equally the case that failure to establish electronic access to the dead also upsets individuals who have a vested interest in anti-materialist ideology. What’s more debatable is whether “intolerance” to such research is a cause or instead a product of results obtained by investigations like these?

http://www.scientificexploration.org/docs/21/jse_21_1_baruss.pdf

http://www.scientificexploration.org/docs/15/jse_15_3_baruss.pdf

http://en.wikipedia.org/wiki/Theosophy

Article copyright © Joe Banks, 9 August 2012

Steven Pinker – “illusions are no mere curiosities…”

For those who might be tempted to think that what analyses of audio illusions discuss are “just” mishearing, as Steven Pinker (Harvard Prof and author of “The Language Instinct”, “Words & Rules”, “The Blank Slate” and “The Stuff of Thought” etc) says “illusions are no mere curiosities, they set the intellectual agenda for centuries of Western thought” (“How The Mind Works”, Penguin 1998, page 212) – and that applies as much to sound as vision. Steven also described “Rorschach Audio” as “fascinating work”. Much more on the former business in the near future…

See “Rorschach Audio” book pages 159 and 173

 

William Hogarth “Satire on False Perspective” 1754

See “Rorschach Audio” book pages 124 and 167, see also the book’s discussion of William Hogarth’s “The Analysis of Beauty” pages 161 to 174

http://en.wikipedia.org/wiki/Satire_on_False_Perspective

Rorschach Audio recommended by The ICA, Monolith Magazine & Freq

Pleased to say the “Rorschach Audio” book features on the recommended reading list at The ICA bookshop in London, the book’s also in stock at The ICA and London Koenig (formerly Zwemmer), also “engaging and eye-opening… a must” (Monolith Magazine), “fascinating… common-sensical and democratic” (Freq).

 

R. Murray Schafer on “Earlids” & “Rorschach Audio – Art & Illusion for Sound”

One of a very few typographical errors that made its way into the “Rorschach Audio” book is a misprinted reference on page 190 that gives the publication date for the Canadian composer and sound theorist R. Murray Schafer’s book “The Tuning of the World” as “1997” instead of 1977 (reference [45] should read – R. Murray Schafer “The Tuning of the World” McClennand & Stewart, Toronto, 1977, quoted in “The Jungles of Randomness: Mathematics at the Edge of Certainty” Ivars Peterson, Penguin, London, 1988, p.88). The quotation in question states that “The sense of hearing cannot be closed off at will. There are no earlids. When we go to sleep our perception of sound is the last door to be closed and it is also the first to open when we awaken”. Ivars Peterson also quotes the same statement in the Science News article “Sounds of the Seasons” (Science News, Dec 1996, vol. 150 No. 25/26 p.400).

As “Rorschach Audio” states, the fact that we have no direct auditory equivalent of eyelids is self-evident, but, as the book also says, the question of whether “the sense of hearing cannot be closed off at will” is a good deal more complex, to put it mildly. Murray Schafer’s book was reprinted by Destiny Books as “Our Sonic Environment and the Soundscape – the Tuning of the World”, which I just bought, to check the original quote in context. Echoing Friedrich Nietzsche’s characterisation of the ear as “the organ of fear” [1], “The Tuning of the World” goes on to quote Canadian media theorist Marshall McLuhan as stating that “terror is the normal state of any oral society”, and to conclude that “the ear’s only protection is an elaborate psychological mechanism for filtering out undesirable sound” (page 11). “Tuning” is an extraordinary book, and one aspect that inevitably caught my attention is the extent to which it anticipates “Rorschach Audio”, because although the filtering mechanism referred to is alluded to in Schafer’s discussion of audio equivalents of the “figure” and “ground” distinctions made by visual psychologists, unfortunately that’s as far as discussion of that theme seems to go; readers can however pick up that story and read a lot more about it in “Rorschach Audio” (pages 177 to 191). Schafer rightly argues that “it is not surprising, noting the visual bias of modern Western culture, that the psychology of aural perception has been comparatively neglected” (page 151), and it is that neglect which “Rorschach Audio” seeks to directly address.

R. Murray Schafer goes on to state that “much of the work done” on psychology of aural perception “has been concerned with binaural hearing and sound localization… quite a lot has been done on masking… and some has been done on auditory fatigue… but taken as a whole such researches leave us a long way from our goal, which…” (in context of his book) “would be to determine in what significant ways individuals and societies of various historical eras listen differently”. Schafer goes on to state that it is therefore “inconceivable that a music or soundscape historian should get quite the same thrill out of the preparatory work the laboratories have provided as that which has stimulated art historians such as Rudolph Arnheim and E.H. Gombrich, whose work owes such a heavy debt to research in the psychology of visual perception”.

For any GEMs who might try to take issue with the fact I’ve taken this opportunity to correct one very small typographical error, in fact Schafer himself mis-spells Rudolf Arnheim’s name, nonetheless, referencing both Arnheim’s “Art & Visual Perception” and E.H. Gombrich’s masterpiece “Art & Illusion” (footnotes, “Tuning” page 286), Schafer states that “in the work of men like these it has begun to be possible to comprehend the history of vision”, and that “the soundscape historian can only speculate tentatively on the nature and causes of perceptual changes in listening habits and hope that psychologist friends may respond to the need for more experimental study”. As a case in point, Schafer states that “it is still not clear whether a term like closure – which refers to the perceptual tendency to complete an incomplete pattern by filling in gaps – can be applied to sound with anything like the confidence it has stimulated in visual pattern perception”; but, since publication in 1977, psychologists (Albert Bregman) and sound designers (David Sonnenschein) have answered Schafer’s question (see “Rorschach Audio” pages 34 to 38).

What Schafer failed to mention is that Rudolf Arnheim was deeply concerned with sound – writing “Radio: The Art of Sound” as far back as 1936, and that in “Art & Illusion” many of E.H. Gombrich’s ideas about visual perception were not based on laboratory experiments, but were based on Gombrich’s own work, with sound, conducted as part of military intelligence gathering during WW2 – and it is this historiographic anomaly which gives the “Rorschach Audio” book the “Art & Illusion for Sound” sub-title, and much of its relevance to debate about mainstream art-world prejudices against sonic art.

In fact Schafer goes on to quote one incredibly famous visual artist talking about sound, but fails to mention that the quote in question also appears in “Art & Illusion” (Schafer page 160, Gombrich page 159). The purpose of the present discourse is however categorically not to find fault with R. Murray Schafer’s exceptional book, but to point out the extent to which “Rorschach Audio” effectively finishes what Schafer started. Finally, on a point of detail, it’s also worth pointing out that the reason I became interested in E.H. Gombrich’s work, was partly because his ideas offered a partial explanation for so-called EVP research (see the first post in this archive), also however because my grandad worked alongside Gombrich during WW2.

Joe Banks, copyright © 2 July 2012

[1] Friedrich Nietzsche “Daybreak”, quoted in Richard Humphreys & Joe Banks “The Analysis of Beauty” (exhibition catalogue) Arts Council National Touring Programme, 2003 (this quote was used to accompany a Disinformation sound installation at The Foundry sub-basement in London).

Raymond Roussel – sound artist & theoretical biochemist

Raymond Roussel – sound artist, writer and theoretical biochemist (1877 to 1933)

See “Rorschach Audio” book pages 139 to 145

Air Traffic Control & Pilot Communication Errors – Disambiguation, Context & Redundancy

On February 19, 1989, a Boeing 747-249F operating as Flying Tiger Flight 66 was flying an international cargo flight from Singapore to Kuala Lumpur, Malaysia… ATC radioed to the flight, “Tiger 66, descend TWO four zero zero [2,400 ft]. Cleared for NDB approach runway three three”. The captain of Tiger 66, who heard “descend TO four zero zero” replied with “Okay, four zero zero” (meaning 400 ft above sea level, which was 2,000 ft too low)… the aircraft impacted a hillside 437ft above sea level, killing all four people on board; two pilots, a flight engineer and an aircraft mechanic. The fire burned for two days…

See “Rorschach Audio” book pages 21, 115, 116, 130 and 151

http://en.wikipedia.org/wiki/Flying_Tiger_Line_Flight_66

Tinnitus Retraining, FM Radio Static, The International Necronautical Society & Aleister Crowley

Probably the least trivial error to have found its way into the “Rorschach Audio” book appears on page 182, which should recommend that tinnitus sufferers should “not seek out excessive quiet”, but that they should instead try to “search for and create gently noisy environments”, by, for instance, (when preparing for sleep) “playing very quiet FM radio static or gentle white noise in the bedroom at night”. The correction here is the addition of the term “FM”, as FM radio static is more smoothly continuous and less troubled by interference, whereas AM static is much more prone to the kind of atmospheric electrical noise which may produce abrupt, unexpected sounds and possibly therefore wake-up listeners at night. Apologies for the mistake.

Also in relation to the same book, one point that’s been raised a couple of times now is the issue of whether or not the man who described himself as “The Great Beast 666” was (as the book says, on page 105) a “Satanist”? It goes without saying that the less than one half of one sentence that “Rorschach Audio” dedicates to Aleister Crowley could never really do justice to the broad sweep of any individual’s life, nonetheless, the following quotes should put the issue in perspective…

“I was not content to believe in a personal devil and serve him, in the ordinary sense of the word. I wanted to get hold of him personally and become his Chief of Staff” – The Confessions of Aleister Crowley, chapter 5, 1929

“I bind my blood in Satan, All that lieth betwixt my hands, To thee, the Beast, and thy control, I pledge me; body, mind and soul” – Aleister Crowley, Satanic Extracts

Another (small) error of omission that’s emerged is that a reference (on page 121) to a publication describing EVP research by Konstantin Raudive and Friedrich Jürgenson as work of (quote) “the scientist”, should be sourced as referring to page 3 of the “Calling All Agents” pamphlet by Tom McCarthy, published by The International Necronautical Society and Vargas Organisation (with funding from The Arts Council) in 2003. The pamphlet also documents contributions to the INS project from Jane Lewty, Heath Bunting, John Cussans, Zinovy Zinik, Manu Luksch, Mukul Patel and Cerith Wyn Evans. Even though much of the INS project was clearly intended to be tongue-in-cheek, nonetheless their booklet reveals underlying assumptions, and (as referred to on page 95 of the “Rorschach Audio” book) the sleevenotes to the Sub Rosa record label’s “Konstantin Raudive” CD also refer to the eponymous EVP researcher as “the Baltic scientist Konstantin Raudive” (emphasis added), but (as the book shows) there is nothing remotely “scientific” about any of the research conducted by Raudive or Jürgenson.

E.H. Gombrich (1909 to 2001) – interviewed in 1995

“I don’t try to make a mystery of things that are not a mystery…”

See “Rorschach Audio” book pages v, 23 to 27, 33, 51 to 58, 118 and 123

Documentary about EVP researcher Friedrich Jürgenson

Documentary about EVP researcher Friedrich Jürgenson (in German)

See “Rorschach Audio” book pages 10 to 11, 46, 57, and 89 to 99