Michael Brandel

Thank you for the information. I work with Spirits from the "Luminous flux group". Also known as the 80's "time stream group" modeled on Maggy & Jules Harsch-Fischbach from Luxembourg. Experiments also with direct voices. Live streaming since 2019, which you can also listen to here on the website as "Raudive Diode". Small tip. Add crystals in your research, and irradiate them with red light and UV light, this amplifies the manifestations, due to the disturbances of the electrosmok. We have been researching with scalar waves and morphogenetic fields since 2018. Stay tuned.

Sim, posso confirmar isso. Mas não importa quais as ferramentas que nós humanos usamos, o mundo espiritual comunica telepaticamente. Saudações da Alemanha

Welcome. Good results. Does due use a device or is that digital?

Hello, you have recorded your own thoughts. The spirit communication is purely telephatic whether medial or technical. Everything is done through the thoughts! We know this phenomenon under the heading: "Manifestations of own thoughts." greetings from Germany.

Spirit Group "Lightstream" that these protocols have to be published. Please share this information in your countries and translate this in their language to pass on. Thanks. Raudive_Englisch_042023PDF.pdf

Hi Ron, I worked with Spirit Tron back in 2016 and was excited about this stream. Unfortunately it has been discontinued. Now I was very happy to see the return of the stream. Is there a possibility to stream in another hoster as used in Keith? We have in Europe, respectively Germany the problem that HTTP pages are no longer displayed properly, due to security concerns of the browsers. The correct address would be HTTPS. https://www.shoutcast.com/ with this page the streams can be better distributed in the world, because many people are only on facebook or other sites, but hardly on websites. it would be a pity if people do not know this wonderful form that already Keith used. nice greetings from germany.

Info: https://www.thescoleexperiment.com/the-norfolk-experiment.html

Info: https://www.bruno-groening.org/en

Tolle Richtung, mit deiner Forschung mit dem Rauch. Mit soviel Elan und Geduld, haben nur wenige Menschen. Die Früchte deiner mediale Arbeit scheinen zu wirken. Alles richtig gemacht, so geht Forschung!

As recounted in his 1989 book, in late 1984 Ken Webster was renovating a run-down eighteenth-century property, Meadow Cottage, in the village of Dodleston in Cheshire, five miles from Chester and close to the border with Wales. He was living with his nineteen-year old girlfriend Debbie and working as an economics teacher in a local school while dabbling with music on the side. The story began with minor poltergeist activity in the cottage. On various occasions tins and other items were moved around and stacked, six-toed footprint-like marks on the wall faded and then returned in a different position, there were chalk marks, a sudden temperature drop and an air current strong enough to lift a newspaper into the air, the sense of a presence, and later on sounds of footsteps. Webster initially suspected a friend of playing pranks, but soon the poltergeist aspect, although it continued at a low level and would in any other situation have warranted an investigation in its own right, became submerged in a dramatic new development. A witness to many of these events was their houseguest, Nicola Bagguley, who was staying for an extended period. She wanted to write performance sketches to obtain an Equity card, so Webster borrowed a BBC Micro model B computer from school, an early machine using five-and-a-quarter inch floppy diskettes for storage, and a very basic word processing program, EDWORD, installed. This machine was left switched on in the kitchen and to their amazement messages began appearing from ‘L W’, an individual who seemed to be writing from the sixteenth century. He had lived in a house on the same site and demanded to know why they were in ‘his’ house and what this ‘leems boyste’ (box of lights) was. Naturally astonished, Webster wrote back, but there were discrepancies and historical errors in L W’s replies suggesting a hoax. However, after the initial suspicions were allayed, a voluminous correspondence, a sort of trans-historical email system, developed. The scripts are given as allegedly received, with translations by Webster. L W eventually said his name was Lukas Wainman, who had lived in the 1540s, during Henry VIII’s reign. The correspondence resulted in a deep mutual affection between Lukas and the twentieth-century residents of ‘his’ house. The communication was asymmetric because Lukas had direct access to the 1980s cottage, being able to see what was going on to a limited extent, in a way that Webster et al did not have the other way. Lukas told Debbie and Ken about his life and they reciprocated, to his wonder. The trio discussed the implications of being able to traverse time. To test Webster’s veracity, Lukas initially claimed to have been at Jesus College, Oxford, which was not founded until the 1570s (though he did not explain how he would have known about it in the 1540s). Lukas later said he had actually studied at Brasenose College, where he had met Erasmus several times, but had been forced to leave for failing to expunge the Pope’s name from documents; this was despite stating in one of his earliest messages he had been badly educated. Pictures, including one of Erasmus, that Webster left out for Lukas disappeared, taken back to his own time. One of a similar type of car to his reeturrned scorched at the edges. Sadly, no Tudor artefacts in pristine condition made the opposite journey. Webster found Lukas to be not always reliable in conveying information, and sometimes vague, so he considered the hoax theory not completely quashed. Adding to the complexity of the situation, after she had experienced tapping sounds, hair pulling, physical pressure and a marked sense of presence while alone in the cottage, Debbie began dreaming of Lukas. These were well-structured events, feeling more concrete than dreams, in which she appeared to travel back and interact with him, and hinted at a growing intimacy, the joint candle making episode being particularly suggestive. Matters took a further soap-opera turn when Webster and Debbie heard from a friend of Lukas’s who told them Lukas was in trouble with the authorities because of the leems boyste, which naturally had devilish connotations. Accusations of witchcraft had resulted in imprisonment. They also learned that Lukas was not his real name, which turned out to be Tomas Harden or Hawarden. Thomas Fowleshurst (one is reminded of Hilary Mantel’s ‘half the world is called Thomas’), the sheriff who was prosecuting Lukas, sent a message, but after pressure was put on Fowleshurst Lukas returned home and resumed contact with Webster. However, he was under a cloud and apprehensive about what might befall him. As if all that was not convoluted enough, another entity calling itself 2109 contacted them. Lukas had thought Webster and Debbie came from the year 2109 because it (whatever ‘it’ was) had given him his box of lights, so naturally Lukas assumed Webster and 2109 were friends; one wonders why this had not come out earlier in conversations with him. There followed a three-way conversation, in some messages to Webster Lukas utilising charcoal on paper and chalk, methods he he was able to use in addition to the computer. 2109’s messages indicated a meddling high-handed desire to control the process of communication with Lukas for some unspecified purpose, making Webster distrustful of its motives, especially when he realised 2109 had been altering some of Lukas’s messages to him. For an individual or individuals transmitting from the future, disappointingly the communications tended to be uninformative about life in that time. Rosemary Dinnage’s review in the Journal of the Society for Research categorised the book as a novel, and made the point that 2109’s poor spelling circumvented the problem of trying to take into account orthographic changes bound to occur during the intervening decades Ken and Debbie researched Lukas’s messages, of which about 300 were received (not all were saved unfortunately). About a third are represented in The Vertical Plane. They recruited sympathetic friends to help, including fellow teacher Peter Trinder, who did much analysis of Lukas’s messages using the OED. He found that the checkable vocabulary was authentic to or before the 1540s, though the grammar was sometimes idiosyncratic, and he considered the messages to be genuine. He supplied an appendix to the book with his findings, and also contacted Robin Peedell, an assistant librarian at Brasenose, who could not find Lukas Wainman in the college records but did find Harden. Webster and company thought they should ask reputable independent researchers to investigate, not least to ensure they were cleared of suspicion of hoaxing. They turned to the Society for Psychical Research. John Stiles, its research liaison officer, sent down member John Bucknall who came with a colleague named Dave Welch, and later with Nick-Sowerby-Johnson. They were clearly sceptical of the story and less interested in Lukas than in 2109, which Webster found frustrating, and the investigation fizzled out. No report was filed and when Webster contacted Stiles to find out what was going on he was told Bucknall had left the SPR in 1986, and Welch and Sowerby-Johnson were not actually members. An idiosyncratic investigation by local UFO researcher Gary Rowe, whose details were supplied by 2109, was equally unfruitful. By the time Instrumental Transcommunication researchers Ernst Senkowski and Jules and Maggy Harsch-Fishbach become interested, Webster did not want to drag it all up again and declined their offers to investigate. Just as it looked like Webster, with a new and more demanding job in Manchester, was tiring of the business, Lukas said he was off to Oxford, having sold up in Dodleston. He mused on the possibility of writing a book about their correspondence, to be left in a place where it would eventually be found, and communication ceased. To date the promised volume has failed to materialise. 2109’s messages likewise petered out. Of the competing explanations, a hoax on Webster and Debbie can be easily dismissed, as they themselves pointed out. While security at the cottage was not stringent, there was never any evidence of a break-in; anyway, messages were often received while they were in the house. Webster borrowed computers from a pool and it would have been impossible to rig them all, and nothing could be retained once turned off, making it impossible to plant information to be seen once it was switched back on. There was no way of sending the messages remotely as the computers did not have modems. Webster said that occasionally replies were received quite quickly, and if true it would have been difficult to compose messages with sixteenth-century-style wording in the interval. Crucially, why would anyone want to bother? It could all be true. Perhaps it was possible for the two centuries to come close enough for communications to be able to pass between them in some way, facilitated by Debbie acting as a medium, she and Lukas sensitives who became synchronised across the centuries. Apart from this book, Webster and friends did not get much out of the exercise. A hoax would most likely have stayed with the 16th/20 centuries and left out the yet further credibility-stretching 22nd century and the poltergeist elements. Webster speculated that 2109 might be explained in terms of advanced physics, notably tachyons, raising the possibility 2109 did not exist on Earth in the future, but was communicating from some other reality. However, if such contact could happen using a BBC Micro as a channel, why has it not happened more frequently given the proliferation of computers since the 1980s? Another possibility, briefly raised but dismissed, was that the living twentieth-century occupants were responsible but unconsciously, using psychokinesis to both create the poltergeist effects and carry on a fantasy communication with Lukas and 2019. Their assertions that the communications were genuine were therefore sincere, though wrong. This is probably the least plausible of any explanation offered because of the complexity of the phenomena and the number of people involved. Or it could have been a hoax perpetrated by Webster and Debbie, who had ample opportunity. That seems the most likely explanation, frankly, a project by someone bored with work, bored with the chaos of doing up a house, living in a dingy part of the world, who thought up a stunt to make life a little more interesting, and perhaps see if he could put one over on the SPR (not a unique aspiration). From the further reading it is clear Webster had read up extensively on psychical research though he would argue this was a result of the messages, not to prepare for them (for example reading Colin Wilson’s Poltergeist to try to understand what was happening). The messages would be tedious to compose, certainly, though to assist Lukas in understanding what they were writing Webster and Debbie became quite adept at the olde worlde pastiche. Had Webster received a more positive reception from the psychical research community, we may have heard more about the vertical plane; however, it is probable the cool reception, plus landing a more fulfilling job, killed his enthusiasm and led him to terminate the project. The book’s ending sounds as though he might have been a little bored, despite the momentous implications of his breakthrough. The style is accomplished enough to show he would have had the creativity to carry out a hoax. As for motive, one possible clue is a remark when contemplating Lukas’s Oxford background: ‘An unnecessary red-brick-university kind of inferiority complex arose in me when faced with these Oxford “old boys”.’ Perhaps he was trying to demonstrate, to them and himself, that he was as good as they were. In August 1996, Out of this World, presented by Carol Vorderman, covered the case in two parts. She said Ken and Debbie (not giving Webster’s surname for some reason) had helped in the making of the programme but had chosen not to appear in a reconstruction. Instead actors were used to dramatise the events in greatly simplified form. The segment concluded with Richard Wiseman interviewing Ken and Debbie, though they were not shown clearly: Wiseman said they had made new lives and did not wish to be identified (presumably then, ‘Ken Webster’ is a pseudonym). He talked to Peter Trinder, their friend who analysed the messages from Lukas and pronounced them genuine, but he also spoke to Dr Laura Wright of Cambridge University who analysed the texts. She said of the verb structure that Lukas made statements in a way people would not have at the time (reinforcing the pastiche likelihood). Asked whether it could be a hoax, Wright stated unequivocally: ‘if it’s meant to look like early modern English writing, it doesn’t even look close.’ Webster’s feeble riposte was that any academic wanting to keep his or her position would not say ‘this is real.’ However, more damningly Wright carried out an analysis of the incidence of adjectives in front of nouns, and found an almost identical frequency between Lukas’s messages and Webster’s descriptive passages (26%, and 26.6% respectively, whereas the frequency of a sample of other writing from the period Webster was writing the book was 32-35%. Webster unsurprisingly denied authorship, claiming he was not present for about four-fifths of the occasions the messages were received (he would according to his testimony often go for a drive while waiting for them to appear). Vordeman finished by saying that Wiseman had spoken to the ‘two’ SPR investigators, not specifying the second. She said they had chosen not to appear, but thought it was a hoax, though adding they ‘had no idea how it was done,’ a curious declaration presumably intended to avoid a direct accusation. Webster sounded grumpy at being challenged by Wiseman, and said he was happy to wait for Lukas’s manuscript to come to light. One suspects he will have a long wait. A final thought about that manuscript. While reading The Vertical Plane I was also reading Jack Finney’s time travel novel Time and Again (1970). The narrator, Si Morley, talks about returning to 1882 (which he does) with the manuscript we are reading, and leaving it among obscure religious tracts in the New York Public Library for a friend to find in the future. This is very similar to Lukas’s idea of writing a book and leaving it in Oxford where it could be retrieved one day. One has to wonder if Webster had read Time and Again and borrowed the idea of hiding papers where they would be discovered – only pretending it was real rather than fiction. Text: https://tomruffles.wordpress.com/2020/08/14/the-vertical-plane-by-ken-webster/

Noon around 4:00 p.m. Sunshine.

I gave you the answer on Youtube. Regarding your question of repetition. I've only tried Krisp once. Unfortunately, I can no longer find this Krisp Livestream technology. I work classically with direct voices from the radio. ITK Krisp Artificial Intelligence.mp4

Wow.. das ist ja ne tolle Richtung..

Hey Friends, I recorded Spirit Cordula via WebSDR. She was Spirit Team Leader of Bacci/Capitani Seance sessions. from text: http://www.worlditc.org/c_07_senki_f_38.01.htm I have stuck to the data of 7.6mhz and 9mhz, it is possible to find these data on this platform. The result was just a test. Find out for yourself! WebSDR: http://websdr.ewi.utwente.nl:8901 cordula 2 englisch.mp4

Da ich mit unterschiedlichen technischen Systemen arbeite, habe ich diese "starre" Frequenzen verworfen. Sie ist wohl für Anfänger gedacht zum Experimentieren von Tonbandstimmen. Eher habe ich die Frequenzen von Marcello Bacci im Auge behalten, da ich mich an die Manifestationen direkten Stimmen orientiere, als nur Ergebnisse von paranormalen Tonbandstimmen. Ich habe ähnlich wie Bacci und Capitani Seance Sitzungen in Kombination mit ITK untersucht und darin verstärkt sich u.a. die eigene Medialität, siehe Publikation von Senkowski: http://www.rodiehr.de/a24/a_24_itk_f_38.01.htm Für meine Experimente bewege ich mich in der nähe der Frequenzen um 7137.9kHz plus/minus. Die Angaben sollen nur als Orientierung dienen für eigene Resultate und Ergebnisse. cordula.mp4

Die unterschiedlichen Spirit Gruppen passen sich unserem Zeitgeist an. Ich kennen aktuell in Deutschland kaum noch Menschen die klassisch mit Mikrofon, Radio oder TV Gerät arbeiten und damit mit dem Jenseits in Kontakt kommen. Sogar Dr. Konstantin Raudive, der bekannte ist dass er nur über das Radio und Telefon sich in der Vergangenheit gemeldet hat, zeigte sich zum ersten mal 2022 über die Wasser Methode, das ist für seine Persönlichkeit sehr ungewohnt erscheint und darin erkennt man wie es in Deutschland derzeit um die ITK Forschung steht. Spirit Dr. Konstantin Raudive: https://www.instagram.com/p/CghNXACjaum/

Diese Information von Gruppe Zeitstrom soll animieren dass sich wieder die Menschen beschäftigen sollen mit den "alten" Methoden via Radio oder Funk zu experimentieren. Sie scheinen vergessen zu sein! Die Frequenzen sind im Prinzip eigentlich egal. Jede Methode ist nur ein Werkzeug. Der Rest ist das Bewusstsein von Medialität und dessen unterschiedlichen Eigenschaften. Ich habe seit 2020 eine mediale Ausbildung genossen, in Trance Seance gesessen und mit vielen berühmten Persönlichkeiten mich unterhalten und empfange seitdem kurze mediale Botschaften auch unteranderem von Friedrich Jürgenson. Er sendet gerne Texte wie diese, die sehr gut zur Forschung passen: "Der Wettbewerb ist vorbei. Die Sender der Geister vibrieren anders. SIE sind der Empfänger, aber die andere Person auch. Unterschiede, aber eine Einheit. Freuen Sie sich, auf die Vielfalt der Geschenke aus der geistigen Welt! Wir sind immer stetig bei euch, um euch, mit euch, ihr müsst es nur zulassen. Für uns Verstorbenen gibt es keine Räumliche Beschränkungen und zurecht unterliegen die vielen Formen jener Manifestationen nicht eurer Physik. Unsere Existenz ist kein Radio mit An und Ausschaltknopf. Merkt euch dies, die mit reinem Herzen forschen! Euer Friedrich Jürgenson" 11.01.2022 Derzeit experimentiere ich mit den Frequenzen zwischen 7.6mhz und 9mhz von Marcello Bacci und habe die ersten Erfolge. Spirit Cordula, war der Spirit Guide von Bacci. Somit ist die Methode reproduzierbar und untersteht nicht nur den medialen Personen, sondern kann von jedem Experimentator erreicht werden, sofern Demut, Geduld und Respekt erbracht wird gegenüber der geistigen Welt! cordula.mp4

Ich habe mir die Mühe gemacht aus dem Rauschen, einzelnen Sätze hier hochzuladen. Bearbeitet mit Adobe Audition 1.0. Die Stimmen sind schleppend, ein Indiz für höhere schwingende Schwingungsebenen (siehe Homes/Hans Bender & Fornhoff/ ABX JUNO) Es war viel Privates dabei, daher nur Bsp. aus der Test Sitzung mit der Frequenz 87.5 MHz. ..über das Internet kann es gelingen. über das Internet kann es gelingen.mp3 Hallo Michael, Christian hilft auch. Hallo hier ist Zeitstrom.mp3 ..es geht weiter in Deutschland. es geht weiter in deutschland.mp3 Die Menschheit glaubt nicht an die Geisterwelt! Die Menschheit glaubt nicht an der Geisterwelt!.mp3

Ich habe schon länger Sprachkontakt mit Dr. Swejen Salter und andere Mitglieder der Gruppe Zeitstrom. Die Tage kam medial rein, das wir diese Frequenz benutzen sollten, ich vermute eher sie gilt als Trigger Funktion für (neue)Forschende auch mal wieder die normale "Radio" Methode zu benutzen, anstatt Ghost/Franks/Spirit & Apps die nur zur "minderwertigen Stimmen und Seelenlose Echos als Ergebnis führen". (Aussage Friedrich Jürgenson 2021, Seance) Kontakt zur Zeitstrom unterliegt nicht dem Tonbandstimmenphänomen sondern der Elektroakustische Manifestationen über Radiosysteme oder direkte akustische Möglichkeiten im Funk Bereich! Problem ist auch das unter dieser Angabe nur reines Rauschen beinhaltet ist, man muss die Aufnahme bearbeiten. Die direkten Stimmen sind noch unter dem Rauschen verankert und müssen regelrecht ausgeschabt werden. Ich vermute und das zeigt auch die Ergebnisse von Bacci/Harsch-Fischbach/Homes/Gärting-Fornhoff/König das anfänglich die direkten Stimmen aus dem Rauschen kommen und stärker werden

Hi Salvi, schön dich zu lesen. Ich habe mich dem WebSDR orientiert, da stand nur kHz. Somit hast du Recht.

Die Spirit Gruppe Zeitstrom ist wieder aktiv! Wir sollen die Frequenz 87,27 kHz nutzen. Dies ist die ehemalige Eurosignal Frequenz. Mit dem http://websdr.ewi.utwente.nl: unter FM und noise reduction tätigen. Aufnahmemöglichkeiten bietet die Webseite direkt an, die als mp3 auf dem PC abgespeichert wird. Achtung: Ihr werdet sie erst sprechen hören, wenn ihr dauerhaft in dieser Frequenz den Kontakt sucht, ansonsten macht es für die Spirit Gruppe keinen Sinn mit euch zu arbeiten! Ich wünsche euch viel Glück. Insights ansehen Beitragsreichweite: 0 G

Paranormale Tonbandstimmen: Die Wassermethode lst ein ganz alltäglicher und unscheinbarer Stoff birgt das Wasser doch noch so manches Geheimnis, das ihm auf den ersten Blick gar nicht anzusehen ist. Auch als Stimmen-"Rohmaterial" scheint sich Wasser in besonderer Weise zu eignen. Nun sind ja Geschichten bekannt, in denen Menschen im Rauschen eines Wasserfalls oder im Murmeln eines Gebirgsbaches Stimmen zu vernehmen glauben. Diese Art Stimmen ist hier allerdings nicht gemeint, da es sich dabei um rein subjektive Wahrnehmungen handelt, die von anderen Personen nicht nachvollzogen werden können. Aufgrund solcher Berichte sind jedoch manche Kritiker zu der Ansicht gelangt, die Wassermethode sei "die beste Methode, sich selbst zu betrügen". Angeblich seien grundsätzlich in jedem Plätschergeräusch zwangsläufig "Stimmen" zu hören, bemerkenswert sei jedoch deren völlige Zusammenhanglosigkeit. Die "Wasserstimmen", um die es hier geht, sind weder subjektiv noch klingen sie überhaupt wie Plätschern. Es handelt sich vielmehr um objektiv auf Tonträgern aufgezeichnete und von jedem nachvollziehbare sprachliche Äußerungen, die sich aus dem Geräusch des plätschernden Wassers neu bilden, die aber mit dem ursprünglichen Plätschergeräusch nichts mehr gemeinsam haben. Diese Stimmen weisen einen ganz eigenen Klang auf und sind keineswegs nur "zusammenhanglos". Es sind darunter sinnvolle und bezugnehmende Äußerungen, die den Eindruck erwecken, als handele es sich bei den Urhebern um intelligente Wesenheiten. Um zu guten Resultaten zu kommen, sind allerdings auch einige Vorkehrungen zu treffen. Die "Plätschereinrichtung" Das akustische Rohmaterial, Wasserplätschern, wird mit Hilfe einer kleinen elektrischen Tauchpumpe erzeugt, wie sie beispielsweise für Zimmerspringbrunnen oder Hydrokultur-Pflanzen mit Lavastein verwendet wird, erhältlich überall da, wo es Pflanzen zu kaufen gibt. Das Exemplar auf den Foto hat eine Leistungsaufnahme von 5 W bei 230 V und eine durch einen Schieberegler einstellbare Pumpleistung von 0...5 Liter/Min. Die maximale Pumphöhe beträgt 55 cm. Die Pumpe befindet sich auf dem Boden eines mit etwas Wasser gefüllten, größeren Gefäßes aus Metall oder Keramik, das als Resonanzkörper dient. Das Gefäß kann beispielsweise eine Milchkanne oder ein großer Pflanzen-Übertopf sein; wichtig ist, daß es "hohl" klingt, denn dadurch erhalten die Stimmen "Farbe". Durch die Menge des Wassers in dem Gefäß wird indirekt die Höhe der Fontäne bestimmt. Die Pumpe sollte gerade so eben mit Wasser bedeckt sein, so daß sich eine dynamisch sprudelnde, etwa 20 bis 30 cm hohe Fontäne aus einzelnen, größeren Wassertropfen ergibt. Es soll nicht nur leise plätschern, sondern ruhig laut "gluckern". TIP 2: Optional kann die Pumpe während der Aufnahme durch einen Intervallschalter im Abstand von jeweils ca. vier Sekunden ein- und ausgeschaltet werden. Die so durch den ständigen Auf- und Abbau der Fontäne erzeugte Dynamik scheint die Stimmenbildung zu fördern, und die Stimmen lassen sich nachher beim Abhören auch leichter lokalisieren. Anordnung der Geräte Die gesamte "Plätschereinrichtung" sollte sich in größerer Entfernung zum aufnehmenden Mikrofon befinden, am besten in einem Nebenraum, der vom eigentlichen Einspielraum, in dem auch die Aufzeichnungsanlage steht, durch eine Tür abgeteilt ist. Durch mehr oder weniger weites Öffnen oder Schließen der Tür läßt sich die Lautstärke des Rohmaterials regulieren und die zu hohen Frequenzanteile des Plätscherns dämpfen. Bei optimaler Einstellung sind die mit dieser Methode erhaltenen Stimmen oft erstaunlich gut artikuliert und haben einen ganz typischen Klang, der manchmal an einen sprechenden Wellensittich erinnert.

Danke für deine Aufnahme. Dr. Konstantin Raudive hat schon in 1990er Bezug genommen zum Thema: Sterben.