Moderators: Elvis, DrVolin, Jeff
Bio-electromagnetic Weapons
A weapon system that operates at the speed of light, that can kill, torture, enslave and escape detection. Harlan Girard
ISIS Press Release 24/01/06
http://www.i-sis.org.uk/BW.php
American Dream wrote:Not exactly about sound engineers, but here is something that could be relevant somehow. Maybe SMiles can elaborate?
[b]Mind Kontrol Phish Sticks
SMiles Lewis
Mind Control - Reference Articles
The articles and papers listed below are the very best of the materials we have recently utilized in our work.
Mind Control: The Ultimate Brave New World by Dr. Nick Begich
US Electromagnetic Weapons and Human Rights – by Peter Phillips, Lew Brown and Bridget Thornton
Advanced Neural Implants and Control – DARPA.
Soviet and Czechoslovakian Parapsychology Research – Defense Intelligence Agency
Paraphysics R & D Warsaw Pact – Defense Intelligence Agency
Controlled Offensive Behavior – USSR Defense Intelligence Agency
Science & Technology for New DoD Capabilities
Interactive Neuronal and Nanoelectronic/photonic Circuits
Darpatech 2002 Symposium – Transforming Fantasy
Synthetic Telepathy and the Early Mind Wars by Richard Alan Miller
USSR Hypnosis at a Distance Defense Intelligence Agency
DEPARTMENT OF THE NAVY ~ OFFICE OF THE SECRETARY SECNAVINST 3900.39D _ HUMAN RESEARCH PROTECTION PROGRAM
http://www.layinstitute.org/src/subcategory.asp?catid=7&subcatid=8
Extradimensional Beatnik wrote:I have heard a lot of weird things about the Grateful Dead's shows however. Didn't they have a special, custom-made sound system with occult symbology? Something about marshall stacks arrayed in patterns related to the kabbalistic tree of life?
American Dream wrote:Alembic itself is an alchemical concept, and though I know many here don't take to the idea of "them" being involved with a conspiracy to spread psychedelic drugs, Alembic would seem to be from exactly that sort of milieu. Ampex/LSD, Wavy Gravy, the Dead- people who may well have considered themselves divine rascals, were well represented in the Alembic circle, as well as the mystique of Rosicrucianism, Masonry, High Magic, Thelema, and the like. My personal sense is that there were hidden manipulations toward goals like social engineering, and that many of the principals wound up addicted to heroin, crack, and other debilitating substances. Not unlike what happened to Phish, courtesy in part of the "Sound and Light Department"...
[url=http://en.wikipedia.org/wiki/Music_for_Airports]
AMBIENT MUSIC
The concept of music designed specifically as a background feature in the environment was pioneered by Muzak Inc. in the fifties, and has since come to be known generically by the term Muzak. The connotations that this term carries are those particularly associated with the kind of material that Muzak Inc. produces - familiar tunes arranged and orchestrated in a lightweight and derivative manner. Understandably, this has led most discerning listeners (and most composers) to dismiss entirely the concept of environmental music as an idea worthy of attention.
Over the past three years, I have become interested in the use of music as ambience, and have come to believe that it is possible to produce material that can be used thus without being in any way compromised. To create a distinction between my own experiments in this area and the products of the various purveyors of canned music, I have begun using the term Ambient Music.
An ambience is defined as an atmosphere, or a surrounding influence: a tint. My intention is to produce original pieces ostensibly (but not exclusively) for particular times and situations with a view to building up a small but versatile catalogue of environmental music suited to a wide variety of moods and atmospheres.
Whereas the extant canned music companies proceed from the basis of regularizing environments by blanketing their acoustic and atmospheric idiosyncracies, Ambient Music is intended to enhance these. Whereas conventional background music is produced by stripping away all sense of doubt and uncertainty (and thus all genuine interest) from the music, Ambient Music retains these qualities. And whereas their intention is to `brighten' the environment by adding stimulus to it (thus supposedly alleviating the tedium of routine tasks and levelling out the natural ups and downs of the body rhythms) Ambient Music is intended to induce calm and a space to think.
Ambient Music must be able to accomodate many levels of listening attention without enforcing one in particular; it must be as ignorable as it is interesting.
BRIAN ENO
September 1978[/url]
[url=http://www.science.uva.nl/~robbert/zappa/interviews/Bob_Marshall/Part08.html]
Bob Marshall: Where I get the idea part is, I remember you did an interview in the L.A. Free Press in the summer of '69 and you mentioned Pauline Oliveri's work with sound, above the audible and below, creating a mass, and you liked that idea.
Frank Zappa: Not that it created a mass. It created something audible. It produced a sum indifference tone which happened to be located within the audible frequency range. By combining something so high you couldn't hear it and something so low you couldn't hear it, it yielded something in the middle that you could hear. Whether or not you like what you hear in the middle is another question. The concept is brilliant.
Bob Marshall: Yeah, because it showed you how physical reality is, or the way it is, right?
Frank Zappa: It's one aspect of it.
Bob Marshall: Are there other aspects you could talk about?
Frank Zappa: If you buy the idea that the vibrational rates translate into matter, and then if you understand the concept of vibrational rates above perception and below perception combining to create a reality, that opens up the door to some pretty science-fiction matter possibilities. If you can create an audible reality by a sine wave above the range of what your ear can hear and another one from below, and you put them together and suddenly it creates something that your ear can detect, is it not possible that solid matter of an unknown origin could manifest periodically because of frequencies of some unknown nature above and below which, for short durations, manifest solid objects? It could explain a lot of strange things that people see.
Bob Marshall: UFO's come to mind immediately.
Frank Zappa: Yeah.
(snip)
Bob Marshall: I think it was during that interview where you were talking about the speech-song, "sprechstimme", you were saying you had solved some musical problems. Who had those musical questions? Did Varese have them?
Frank Zappa: No, questions that I have to answer for myself. These are questions about how you get the point across. And oftentimes I've just appropriated the speech-song. When a person sings a word, the idea that is transmitted transcends the word because there's so much other data connected with the word at pitch. Understand?
Bob Marshall: Are you talking about sound?
Frank Zappa: No, the person hearing, receiving the data, is not only receiving the word.
Bob Marshall: The "meaning"?
Frank Zappa: That's right, the text of the word. He is also receiving the pitch data at which it is sung. In other words, that same word sung at a high pitch means something different than the word sung at a low pitch. He is receiving the data of the harmonic climate in which the word exists. He's also receiving the data of the relationship of the pitch of the word to the climate itself. In other words, if you have an A minor chord and the word is sung on a B, then that word is going to stick out because it's not part of the chord. There are three notes in an A minor chord - A, C, E. If you sing that word on any of the notes which are part of the chord, it recedes into the chord. It's part of the background. If the word is sung on a note which is not part of the chord, it steps out from the chord and draws attention to itself and becomes a matter of emphasis. These are the types of extra data that exist when you sing a word. An extra spin gets put on the word if you half say it, half sing it. It makes it even more 3D. It leaps out from the harmonic support and draws even more attention to itself if you've been singing along and you hear this melody and you get to this certain part and you half sing it, half say it. And it sticks out even further if you absolutely say it because it's incongruous in the setting.
Carolyn Dean: Well, that's probably activating both sides of your brain at the same time.
Frank Zappa: I don't know about that stuff. I don't know about left side/right side stuff. I'm not sure that I even buy the theory of it. To me, it sounds simplistic.
Carolyn Dean: But the music supposedly goes into your right brain and the spoken word goes into your left brain.
Frank Zappa: I don't know enough about the research that leads people to draw that conclusion to see whether or not I agree with it.
Bob Marshall: So, did you finish your explanation?
Frank Zappa: That's one of the questions: how do you get your point across? Besides what time it is, that's one of the big questions that a person ought to be asking. [/url]
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