Meanings, Messages & Signals
Sounds are not pulsating discontinuities. Point-inspections are inadequate means for assessing this fact. Sound is volumetric, containing sensate-extending dialogues which search out and seek recipients. The qualitative portion evinced in utterance actually curves into recipients, growing with both time and attention. Acoustic pressure waves are inertial ponderances, the mere by-products of the articulate movement of utterance through space.
There is only one author, to my knowledge, who has ever adequately engaged this examination. Projected sounds have impossibly complex details which exist ACROSS wavefronts. This complex patter-nation of space permeates the volume through which utterances are made.
Margaret Watts-Hughes (Eidophone Voice Figures) made astonishing dust impressions of these patterns by speaking and singing into a large area tympanum, In these, words became images. There is a far deeper nature to utterance than mere acoustic wavefronts of inertial pressure. There is in fact an articulate component, an articulate signal, which projects during vocalization into the environment This articulate component is broad, volumetric in extent It is inertia-free. It permeates into and diffracts around diverse materials. It is the emulsifying agent which precedes and produces the acoustic pressure waves Upon which quantitative science is so intently focused.
When this primary articulate component, true sound, is received, we feel ”warm…and soft”. The proper absorption of articulate projections among human communicants produces the warmth and softness of positive human contact. Here then is the component to which sensitive listeners were attentive. While listening to Edison cylinders, bakelite discs, vinyl discs, magnetic tapes and CD’s; the human sensorium discerns differences in the articulate content stored in each medium.
It was therefore not impossible for human listeners to feel the “warmth and softness” of high articulate density projections from Edison’s cylinders, old discs, vinyl, and magnetic tape recordings. All nnalog recordings rivaled the “improved acoustic detail” of CD’s, cold and vacant by comparison. Incapable of storing the articulate content of sound, CD’s remained the “cold, hard, impersonal” recordings which consumers sensitively observed.
RADIONIC EVALUATIONS
Numerous Radionists have discussed the storage of vital and emotional states in material substrates. Such objects of study were detailed by Dr. Abrams as “capacitor storage”, and by Dr. Drown as “voice-print analysis”. The means for qualitatively analyzing articulate radiance was therefore available to science early in the century.
Radionists have tremendous advantage when actively comparing or contrasting qualitative world-phenomena. The experiential portion of human nature is fundamentally auric in nature. Only Radionic Instrumentalities can extend and externalize the human aura, the human sensorium being the ONLY means for assessing experiential energies. Radionic Instrumentation successfully externalizes qualitative energies in physically disposed demarcations, the so-called rates. Having nothing to do with vibration, the radionic “rate” is a sensitive point to which human auric anatomy clings.
Careful attention reveals that these “stick points” contain sensation currents, some emotional and others visual. Experiential signals include visceral (emotive impressions) and eidetic (visual-impressions) components. Currents contain varied proportions of each such species.
Qualitative sensitivities alone can discern and divide between-analog and digital media content by comparing the auric patterns which they project in playback. While ordinary “naked ear” examinations of recordings gives mild para-acoustic signal intensities, the radionically entuned points greatly magnified these articulations. Entuned radionic examinations of several media produced truly intriguing and revealing results.
Sampling sound by direct contact, it is possible to obtain radionic examinations of recorded sounds. Therefore sound, from ordinary loudspeakers, was allowed to play upon a sheet of aluminum foil. This vibrant “receiver” was connected to a small radionic tuner, employing variable capacitors. The physiological connection to this radionic source used a single wire which was connected to the instrument’s output terminal, a hand-held aluminum rod. Articulate emanations from various media were allowed to play through the aluminum sheet, while “sensitive points” were sought by adjusting the variable capacitor.
In the light of Radionic Science, it is not at all difficult to define the meaning of terms such as “soft” or “warm”, “hard” or “cold”. These terms represent the more superficial qualitative sensations within which move more prolific and articulate eidetic currents. Different recording media were studied through radionic means. The experiments can be reproduced to satisfaction.
First, it was found that any Analog medium flooded over with rates. The instrument could not be varied very much before STRONG discharge points were located. Numerous easily entuned analog rates discharged strong eidetic images on contact Visionary discharges were found to be excessive during vinyl and magnetic media playback.
It was not therefore surprising to find that digital recordings gave exceedingly WEAK and indistinct radionic discharges. The discharges were there, discerned only through sharp radionic tuning. Even when entuned, these points gave no emotional or visual emanations whatsoever.
This explains why CD’s seem “cold, vacant, and hard” to the human sensorium. Acoustically perfect,, they evidence a strangely depleted auric content. Digital systems, having ability to separate inertial and auric components, demonstrate the fact that auric signals and inertial signals are two very opposed entities. Converting articulations into numerical codes, and then punching holes in aluminum foil to store the numbers, digital recording systems cannot store these emotive signals.
Microphones and amplifier systems also influence the accurate reception and storage of emotive signals. Acoustic clarity does not often matter when emotive signals are powerfully recorded in certain systems. The old Edison recordings poised performers directly before large horn microphones. In this manner, whole articulate patterns were actually deposited in the media cylinders. There is a remarkable “warmth and softness” to these recordings, despite their scratchy “music box” sound.
Recording systems which utilize numerous microphones receive more of the space-volumetric articulate patterns which performers constantly project This is why the old “one take…live” performance recordings were so powerfully sensate, saturated in emotional and imaginal components.
After (he Edison horn-diaphragm microphones, carbon button microphones demonstrate the most powerful articulate receptivity. Neumann studio microphones, as with all magnetic devices, offer irritating resistances to emotive articulations. Remember, the emotive articulations permeate and intermingle with undulations which modern systems are made to record. The emotive articulations themselves are not the acoustic waves, requiring a completely different kind of system and medium for their accurate storage.