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14 - Investigation about the physical origin of spirit influence - by Andrés Ramos-Jiménez


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  • iDigitalMedium Research Team

1. Abstract

In our group we are collaborating in the research of the principles of the manifestation of ghost imprints in audio, image and video signals. We conducted an abundance of experiments with very similar outcomes. More or less the voices and images seem to pour out everywhere while the used technique does not seem to play the major role always. The main question for me from a more mundane point of view still is where in the chain of noise generation, signal conveying, transformation and reception is the place and the moment where the spirits break through to manipulate the signal leaving their imprints in it? Is this a localized phenomenon, is it bound to time? To anticipate the result of this experiment, I did not find the answer but I maybe can shed some light on a possible explanation.

This work is based on my results with mylar foil crumpling. I found out that this process gives excellent results in form of a signal that consists mainly of impulses. For some reason the amplitude and density of the impulses are resembling the rhythm of human speech. The Audacity function "Paulstretch" is very effective in converting the spiky sound into intelligible speech. Still I don't know why. This needs to be the focus of a separate investigation.

Based on my results the conclusion could be drawn to synthesize those spiky signals with some abstractions and to investigate the results for spirit imprints. I was pretty sure that this would work but things turned out to be very different. Some more experiments followed the first one and in the end I am trying to draw an conclusion in the form of two hypothesis.

 

2. Analysis and synthesis of base impulses.

Mylar foil crumpling is realized by taking a piece of mylar and softly pressing it with your own fingers, bending and crumpling it slowly. Mylar has a stiffness that is in accordance to it's thickness and material properties. From an abstract point of  view the foil is constituted of an 2-dimensional array of small surfaces with spring characteristic and nonlinear behavior. Because of their stiffness these subareas don't follow the deformation of the foil immediately, instead they are storing the deformation work as mechanical tension. At some point the an area is overloaded with mechanical power and suddenly "pop's out", releasing it's stored energy in the shape of an oscillation. I found out that this oscillation is merely centered around 4KHz. In Audacity I cut it out as a single event.

Image 1: A single mylar impulse

Impulse.jpg

You can see it is a damped oscillation as you would it expect from my previous explanations. This is the first important finding that impulses, spirits are favorably  working with, are in fact quick and strongly damped oscillations.

The idea was obvious to take those impulses and to construct a synthesized "mylar" signal from it. My original goal was to find a way to generate this signal electronically to facilitate the mylar foil technique. So I copied this sample and inserted it randomly in an empty Audacity track multiple times. I did this by hand because at this time I had no means to do this automatically based on a random function. I took care that the impulses were unevenly spread across the track since this is typical for human speech.

Image 2: Synthesized Signal

Synthesized Signal.jpg

I exported the synthesized signal as a wave file on a SD card that I inserted in a MP3-loudspeaker box that could play the audio clip in a loop endlessly.

Image 3: Test setup with synthesized signal

IMG_20210206_100709.jpg

The MP3-box was positioned in a distance of 30cm to my ITC microphone. The resulting signal was recorded in Audacity. My expectation was that the impulses would be influenced by the spirits. After the test run I aligned the synthesized signal with the recording to see the differences.

Image 4: Source and result signal aligned

Transformed signa.jpg

The first surprise was that the resulting signal looked very homogeneously.  After magnifying one of the spikes I could see that the resulting signal just showed an additional small oscillation, likely produced by the loudspeaker of the box itself.

Image 5: Magnified signals

Transformed signal - magnified.jpg

This result was far from spectacular and showed just normal physical system responses. My impression was acknowledged after applying Paulstretch to the result. There was not a single trace of a spirit voice in it!

Resulting signal:Test run-1.wav

Resulting signal after Paulstretch:1872400553_Testrun-Mylar-Paulstretched-1.wav

I repeated the experiments under the same conditions and gained the same result once again, no voices. Well not absolutely since I got one very weak voice but it was totally out of sync with the impulses and I frequently get microphone voices during my experiments. I see it as a spiritual contamination.

Spirit voice in test run 2:Test run-2 voice.wav

I did the test a third time and again there were no spirit voices, absolutely none! It was not just that my expectations were not met, moreover it was a real contradiction to my previous results where I got voices in varying quality and strength but at least always!

 

3. Repeating the mylar experiment

The experiment results confused me and thus I decided to repeat the standard mylar experiment with a piece of plastic foil.

Image 6: Repeating the mylar experiment

Test run - mylar.jpg

Fortunately the mylar was still working. After paulstretching I could isolate lot's of voices.

"Andrés, liebe deinen Vater" (Andrés, love your dad): Andres liebe deinen Vater.wav

"Ich glaub wir müssen ächzen" (I think we have to groan): Ich glaub wir m├╝ssen ├ñchzen.wav

 

4. From mylar to synthesized signals

The next idea I had was to use the mylar signal and to make it more like the synthesized one. The main difference is that after the impulses additional signals appeared that grew when huge spikes or densities of spikes injected more energy into the signal and decayed if the spikes became lower or lesser. These additional modulations are a home of the spirit voices normally i assumed. I thought if I could strip them away then I would get a suitable distribution of impulses but without the spirit modulation I could use to repeat the experiment described in chapter 2.

So I wrote a Nyquist script that could set all values below a selectable threshold level to zero, thus in theory only the spikes would remain. Essentially this was a gating process.

Image 7: Gated signals

Clipping Experiment-1.jpg

The first track shows the original mylar signal. Track no. 2 shows the paulstretched content of mylar signal where I extracted the voices from. Track 3 is the gated signal. You can see that the low level modulation is almost gone. Track 4 shows the content of Track 3 paulstretched. Most amazingly even after removing the spirit modulation parts from the mylar signal, the paulstretched version of the gated signal still contained strong voices. The modulation was even better as with the original paulstretched mylar signal!

Then i decided to remove even more spirit modulation from the signal since it was thinkable that the different amplitudes of the impulse train of the gated signal still contained spirit imprints. Thus I wrote a variant of the Nyquist script that did not only removed the low level modulation but moreover was setting all impulse amplitudes to the same level. This way no more amplitude information was present.

 

Image 8: Gated and clipped signal

Clipping.jpg

The first track shows the original mylar signal. Track no. 2 is the gated and clipped signal with no more amplitude modulation. Track3 is Track 2 paulstreched. By aligning the paulstretched signals from the gated and the gated and clipped signals I could see very easily substantial equivalence.

 

Image 9: Comparing gated and gated/clipped paulstretched signals

Mylar compare.jpg

The upper track shows the gated and paulstretched mylar signal. The second track the gated/clipped and paulstretched signal. You can see the characteristic of both signals is identically. We can see a slight deterioration the modulation of the clipped signals compared to the signal that was only gated. Please note that not further signal processing like filtering or denoising was done here.

Mylar-1 (gated and paulstretched):Mylar-1.wav

Mylar-2 (gated/clipped and paulstretched):Mylar-2.wav

Obviously you can do a lot of harm to a signal with spirit imprints and their footprint still is visible. The lower level parts of the signal don't play a major role for the spirit content and neither does the amplitude of the impulses. The core element seems to be the distribution of impulses and their varying density.

I decided to go my way back to the synthesized signal with the new knowledge I gained. If the secret of success is lying in the impulse metrics than it should be possible to mimic the mylar signal by placing artificial impulses according to the same scheme. So I got back again to my original synthesized impulse signal. I took the gated and clipped mylar signal as a blueprint and placed the oscillation impulses according to the density of the mylar signal.

 

Image 10: Magnified compare of composed and mylar signal

Compare Magnified.jpg

The upper track shows the composed signal and the lower one the gated and clipped mylar signal. My rule of thumb was to place as much artificial oscillation impulses after one another that they required roughly the same space as the impulses in the mylar signal.

 

Image 11: Compare of mylar and composed signal

Synthesized track.jpg

Upper track is the composed signal. The lower track shows the gated and clipped mylar signal.

Now I exported the freshly generated composed signal as an MP3 file and stored it on the SD card I then inserted into the MP3-box. Then I repeated the original experiment described in chapter 3. I recorded the sound from the MP3-box in  Audacity and analyzed it. The result again was not according to my expectations. After paulstretching the signal I could clearly see and hear a speech rhythm but since in the original mylar signal (gated and clipped) a clear voice modulation was perceivable the sound of the paulstretched artificial track was just modulated noise without intelligible speech.

Original mylar signal(gated an clipped):Mylar-2.wav

Artificial signal (paulstreteched):Synthesized Paulstretched.wav

Artificial signal without paulstretch:Synthesized Recorded.wav

Also comparing with the unprocessed recorded signal shows clearly a rhythm but no voice elements. Now see the signals in graphical representation.

 

Image 12: Graphical representation of mylar and artificial signal

Compare synth-mylar.jpg

It's obvious that the characteristic of both signals is identically. Nevertheless the artificial signals does not contain speech.

 

5. Conclusions

As I said the results I gained were not testifying my own expectations and confused me a lot. Despite this fact I dared to draw some conclusions from the experimental results.

5.1 The core of spirit modulation in impulse signals

What the results are showing us very clearly is that in a signal that got "processed" by spirits, the root of their impact is not coded in the low level, more "analog" looking parts of the signal. After cutting them out the modulation stays strong. The assumption that the voices are hiding in the amplitude fluctuations of the impulses itself also proved as wrong. After clipping the impulses all to the same level the voices are still strong. Thus the very core or the root of the spirit impact is coded in the density pattern, in the distribution of impulses across the signal.

5.2 The role of entropy

The second finding is even more disturbing. It means that replicating the density pattern of a mylar signal that proved to be excellent for spirit modulation gave me not the same results as the original mylar signal. The resulting signal is mimicking the same envelope as the spirit influenced signal but without voice modulation. It's just amplitude modulated noise, a form without content. This raises the question, why? Why can't spirits grab the same suitable density pattern and put their imprints into it if the signal was composed artificially? My hypothesis is as follows.

There is a clear distinction between creation and repetition of a signal. What the spirits can do is influencing anything that is uncertain or let's say new born. A signal that is born out of a physical process that is based on entropy has zero predictability. This is where the spirits hook in. They can tackle something that comes freshly into the world and they grab it in the very moment of it's creation.

A composed signal on the other hand has no entropy. Since it was already generated, composed or recorded the predictability of the signal is 100% and the entropy is zero! Seems that there is no way for the spirits to change something that is already "there" and just repeated. Repetition brings nothing new into the world, there is no additional information created.

This hypothesis also gives an answer to the question where in the chain of signal creation, distribution, transmission and reception the spirit impact takes place, it is right in the moment of creation and not while the signal is traveling through the air as an audio wave from the loudspeaker to the microphone.

I also would hypothesize that MAYBE the spirits have a chance to do their thing at every point in the creation-transmission-reception chain where the signal undergoes a physical change that alters it's information content like filtering, adding echo, conversion from analog to digital and vice versa.

This hypothesis would also explain why spirit messages once recorded don't change afterwards. The content is not undergoing any information change.

A last question remains to be answered that is not clear to me. Since science states a very good definition of entropy and information in an objective sense we as ITC researchers know that we can't separate the phenomenon from the experimenter. Thus the objective explanation of entropy in the sense of mainstream science may be questionable in our realm. The question is what really means predictability of a signal in ITC setups? Is predictability the objective description of a situation where no one in this universe, no man, no computer could by all means foresee the next upcoming value of an entropy signal? Or does it mean that the just the experimenter does not know? Is it something that is taking place when the experimenter is giving the process of creation out of his hands and rejects to control it? Would a random number generator that spits out deterministic noise with no entropy still produce ITC phenomena because the process of creation is out of control from the viewpoint of the experimenter? What really means predictability and entropy for our experiments?

This is up to be discovered.

 

Andres liebe deinen Vater.wav Ich glaub wir müssen ächzen.wav Test run-1.wav Test run-2 voice.wav Test run-2.wav 1240831028_Testrun-3-Paulstretched.wav 1523320170_Testrun-3.wav 2088334816_Testrun-Mylar-Paulstretched.wav 1872400553_Testrun-Mylar-Paulstretched-1.wav 1639034973_Testrun-Mylar.wav

Impulse_raw.jpg

Impulse.jpg

Impulse_raw.jpg

Compare synth-mylar.jpg

Sunthesized after Recording.jpg

Synthesized track.jpg

Compare Magnified.jpg

Random Impulses-synth.mp3 Synthesized Paulstretched.wav Synthesized Recorded.wav

Clipping Experiment-2.jpg

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  • Andres Ramos changed the title to 14 - Investigation about the physical origin of spirit influence - by Andrés Ramos-Jiménez

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