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Before I introduce another steampunk method, let me hypothesize some ITC principles

Michael Lee


I will introduce some new "steampunk" or acoustic ITC methods in the next post. 

But first I want to share with you some theories I have about audio ITC.

To me, reception of spirit / interdimensional signals has at least three components:

1) Sensitivity to the signal

2) Resonant modes of the detector

3) Driving energy

Sensitivity means that whatever spirits can use to communicate with us, like virtual photons, wavefunction selection, or whatever, our devices can pick up these changes/anomalies. The most traditional detectors people have used are microphones and scratchy diodes. Presumably, the microphone picks up small air pressure changes and or electromagnetic signals affecting its inductive coil. The diode could be picking up radio waves, scalar waves, thermal changes, etc.

In any case, every ITC detector has some sort of sensitivity. Detectors can be virtually anything, like water or even a hard rock. But as long as we can percieve (humanly or electronically) changes in that detector, then it should work. The question though, is how sensitive to spirit is that detector compared to others. That, I don't have an answer, but we can certainly select our favorites for experimentation based on perceived improvements or ease of use.

Resonant modes refers to the available states of the detector or broader physical ITC system. It can be thought of as the frequency spectrum of physical and non-physical signals emanating from a given device. For example, some devices have two states. They either have short "pops" or nothing at all. Some have pops of differing duration and amplitude. Some devices emit a constant white noises. Others could have certain dominant tones like wind chimes. Even others could have a dominant on/off buzzing sound like some of Andres' creations.

In each case, there's an "available" set of frequencies that can be produced. Obviously, if we wanted to hear a perfect human voice, the device would need to emit all of the frequencies between a range of approximately 100-8000 Hz. Devices that emit white noise, sound great for this challenge, but often suffer from overdoing it in the last factor...

Driving energy refers to how much our device is physically stimulated. A great example is the work of Anabela Cardoso. She finds that a microphone with noise playing in the background is much better than a microphone in a completely silent room. The added noise is "driving energy." It is both a source of energy for the spirits to manipulate and it ruffles up the air molecules in the room providing a "canvas" for spirit signal implantation. 

But too much driving energy may not be such a good thing. If I play a super loud buzzing sound (to represent the human glottal voice pattern), we're not going to hear any variations in that buzz, unless we use some pretty serious noise cancellation software. Meanwhile, if I supply a light amount of buzz, the variations may begin to be noticeable to the human ear.

Here's another "overdrive" situation: radio static. Radio static when evaluated with a spectrogram looks as random as can be. You have to apply a lot of software noise removal to extract out anomalous signals. I would argue that too much noise makes the filtering process more difficult than it needs to be. One way people balance out the noise is by playing it over speaker to be picked up by second microphone.


Ok, enough rambling about theories. In my next post, hopefully, I will have some interesting results to share.






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I like this clean conceptual approach you are presenting here, Michael. Very well done!

I'd like to mention two other possible ITC-components. The first one is fragility. IAt first sight I know fragility seems similar to sensitivity however I think fragility offers something that sensitivity does not show. A sensitive detector detects the desired signal but usually adds noise to the amplification process.  In a fragile system an energy quantum coming the hereafter can be multiplied by avalanche effects when the detector system is flipping from one state into another. In this case the signal can outstand the noise ground floor sometimes. I observed this behavior very much with coherers and also your experiments with the whistler you used an operational amplifier in a weak state of feedback, if I remember correctly.

Another thing is utilizing chaotic behavior of systems. We see this in white or pink noise, all kind of uncontrolled feedback, the complex impulse patterns in the VISPRE and many more. I suppose the usability of those effects is lying in the fact that everything is already "moving". Spoken literally,  it certainly takes more energy to set something in motion as affecting something that already is in motion.

I also would like to add something to your description of driving energy. Spoken very generally this energy already should appear in the shape you want the resulting signal to be. We observe this very much with microphone voices. I often got messages that had the shape or characteristic of the background sound I was providing. As I was typing on my keyboard in the background I got voices with clicking sounds while pink noise makes spirit voices sound croaky.

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Good points! Metastability/fragility, chaos/noise processes, and the energy should resemble the desired output. Fragility is also a good term to describe how our experiments work for one moment and then stop working the next. There's these very precise balance points which maximize spirit signal but also fall apart very easily.

Edit: In the stream, spirits just reminded me of another key concept: inference software. We can get all the conditions right, but then we need a little help from software to convert the signal to semi-intelligble information (e.g., voices).

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Exactly! Apart from some very good direct microphone voices we always need software to process the raw signals to even get the chance to distill the original information from it.

However, sometimes I think that the the sw processing is not just about extracting hidden information from the recordings but even more that sw is part of the pk effect and thus one factor in the signal transformation chain that starts in the hereafter and ends in our world. Moreover I frequently come to the point that even our perception is part of the transformation chain and that the 'objective' messages is shaped just finally during our perception. But I'm not really sure about this...

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You're right! Until we reach definitive messages, our perception of the messages is part of the chain. It's digitally-assisted mediumship.

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3 hours ago, Michael Lee said:

You're right! Until we reach definitive messages, our perception of the messages is part of the chain. It's digitally-assisted mediumship.

Yes. Of course this sheds a completely new light on the objectivity of messages and how to separate them from pareidolia. Maybe the red line is not running between reality and pareidolia, maybe it just separates useful pareidolia from useless? 🥴

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I notice a range of quality within a single minute of recording. Maybe a few clear words, a few possible phrases, and a lot of unclear utterances. This is the life of a ITC researcher - the threshold of reality and delusion 🥴

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"the device would need to emit all of the frequencies between a range of approximately 100-8000 Hz"

Is it common for people to use white or pink noise and apply EQ filters (high pass and low pass) to achieve only the desired frequency range?

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Mike: there are many variations of filters and noise sources you can use. Some ppl use voice or voice like audio. As long as you can distinguish between what you think is deterministic or should have happened vs. What actually happened, which might have been a message from spirit. Use your intuition, as that's part of the process, until we get such clear messages that there is no doubt.

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"Is it common for people to use white or pink noise and apply EQ filters (high pass and low pass) to achieve only the desired frequency range?"

Mike: I did several builds over the years trying to tackle this problem. I wanted a range of frequencies to be present in the environment. Obviously adding audible noise causes several other issues to deal with.

The best method I came up with was to introduce the frequencies silently in the form of light. By transforming sound into light and then recollecting the light with a sensitive solar cell. Some voices come across as whispers and some simple analysis shows that those type of voices are usually missing the fundamental frequency to give the intonation of human voice.

My hypothesis was that by introducing a blanket of frequencies we might cause beat frequencies and/or provide the fundamental frequency needed to 'round out' a voice. As best I can tell, through using shielding and as many controls as you can, it's POSSIBLE this hypothesis MAY be true.

I'm currently working on a setup that uses sound transformed into light and an acousto-optic tunable filter that is able to split a laser into different bands like a prism before being collected and demodulated back into sound. Hopefully in the coming years I will be able to design a solid study to really look into what effect, if any, introducing a broad range of frequencies actually has on voice quality.

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