by Ernst Senkowski
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We will arrive with images.
Though photographic extras may be interpreted as a preliminary stage of TV phenomena (A-6.7), they do not form part of this book’s subject in its narrower sense. But as an exception shall be mentioned three electronic-flash photographs taken during an ITC meeting in Fulda (Germany). On one of the photos, light-blue ’clouds’ (which cannot be due to smoke) float unconnectedly in the room; in the second, they appear to be concentrated on the microphone of KOENIG’s equipment and on the recorder of a participating lady. The third picture is normal. It could be a matter of drifting ‘electroplasmic structures’ stimulated by fluorescent flash lighting. Pointed experiments during transcontacts perhaps might furnish interesting material. Anabela CARDOSO several times ‘saw’ similar blue clouds during experiments (private comm.). Extraordinary is the photo represented in Ill. 10 of A-6.7, kindly placed at the author’s disposal by A.J. RAAKE.
A copying of the optic-electronical feedback arrangement introduced by Klaus SCHREIBER for the realization of transimages (HOFSTADTER, p. 270: ‘the video system swallowing itself’; POEPPE, HAEUSLER), cannot be recommended unreservedly, since the wear of the magnetic heads during rather long freezing-frame mode of operation can lead to an early video recorder VR failure. The following equipment is needed: one (black-and-white) TV set (better a monitor), a (black-and-white) video camera, as well as two recorders, VTR1 and VTR2, with clear freeze-frame reproduction. The TV set without aerial (or the monitor), the camera and VTR1 are linked with each other as for normal video recordings. The camera is pointed at the TV screen from an oblique angle at a distance of approx. 2 m (approx. 6.1/2 ft). Lighting, shutter and aperture settings, brightness, contrast, and camera position should be varied so as to produce (slowly) fluctuating light-and-dark patterns. UV rays (‘black light lamps’), possibly IR rays (‘red light lamps’) and instable sound fields generated by means of acoustic feedback (see B-9.1) seem to be favourable for image formation. After a short recording of patterns as sequence 1 on VTR 1 (1 min = approx. 1500 pictures!), one then attempts to find and immediately document a possible ‘paranormal’ extra in single-frame mode. To do this, it is dubbed via cable or via the camera in single-frame mode onto VTR2 as a short sequence 2. It is a Sisyphean task to find a ‘lost’ image again. A discovered ‘incident image’ evaluated as sufficiently good is to be photographed as soon as it is detected, f.i. with a polaroid camera.
Through a series of dubbings, a ‘vague’ light fleck may possibly be ‘processed’ into a clear image. For doing this, a ‘better’ looking freeze-frame is selected from sequence 2, and dubbed as sequence 3 on VTR1. This procedure is repeated till the quality decreases, or till synchronization difficulties oblige to take an intermediary photograph, which later, as a thrown diapositive (lantern slide), is to be processed further. The reproduction of the single frames, spliced together into a series showing the consecutive development stages, illustrates time-compressed the formation of a ‘processed image’.
Obviously their strong mediumistic gift played an essential role with SCHREIBER as well as with other experimenters. Sad to say that his results were attacked in an absolutely unqualified manner, for instance in form of lies dished up by ZANDER in the German pictorial ‘Stern ’of 16-03-1989).
To every physicist it is absolutely clear that the improvement of the quality of a picture by repeated duplicating - here another example - contradicts one of the ‘fundamental principles’ of physics, that of ‘entropy’. So, in such negentropic formation of pictures a shape building field must have effect which stepwise generates ‘order out of chaos’ (see A-2, D-27, 37.12). We here have not to do with a technically reproducible formation of geometric patterns, spirals, infinitely feasible repetitions, or similar structures, but with clear pictures, mainly (but by no way exclusively!) of deceased who during their earthly life were relations of or had relations with the experimenter. The formation of a ‘processed image’ is comparable with a sculpturer’s work, who creates a perfect sculpture out of a rough block of marble.
A scheme that is near to BOHM’s, SHELDRAKE’s, and HEIM’s ideas can explain the coherences:
|1||There exist immaterial endeavours to realize form changes against the ‘inertia of normality’ inherent to matter.
|2||The efficacious intensity of an endeavour is proportional to the difference Δ = ideal form minus real form.
|3||With decreasing Δ (corresponding to increasing adaptation) the endeavour’s intensity decreases, and the change comes to standstill.
|4||During its ‘lifetime’, the developed new form is subject to increasing entropy till its dissolution.|
At the side the ‘fade-in picture’ of abbot WIESINGER, selected out of the wealth of SCHREIBER’s transimages, is a photography of WIESINGER (Ill. 43, text in F-38.10).
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Not all of SCHREIBER’s recordings could be related to known individuals, some have been recognized to be of deceased. One interesting case is that of transimages showing a girl clearly moving her mouth in a sequence recorded by SCHREIBER and their resemblance with the picture of a living disabled girl published on a bill . In an other case appears the video image as a sketch drawing of a painting of RAFFAEL .
 Scenes involving full-scale motion do not occur in SCHREIBER’s images, but there are occasional mouth and also eye ‘movements’.
 In literature, mediumistic communications have been documented which include messages from ‘deceased’ who were alive at the time of the experiment. JUERGENSON and TRAJNA reported fortuitious or provoked VOT recordings expressing the thoughts of living persons (also of absent, possibly asleep persons). But such observations are isolated occurrences. If ITC is a matter of the objectification of thoughts and ideas from an unlimited information zone, then there should as well be no fundamental obstacles to an instrumentally supported VOT telepathy between living persons. In the event, everything would simply be a matter of adaptation and selection. Experiments under controlled conditions could be carried out in this field with little exertion and expenditure! In the periodical “Esotera” of 4/1991, WIESENDANGER mentions the experiment successfully carried through by the English sensitive and healer Geoffrey BOLTWOOD, of whom it is said that after a total of six hours of concentration he succeeded in projecting a previously determined sentence over several kilometers distance onto an empty, sealed, sound recording tape to which several witnesses were listening in his absence. – Several extraordinary effects were observed by THERY and TAVIERE: clearly recognizable changes to recorded voices, as well as transpositions from one sound cassette onto an other. For example, one block of a recording (experimenter’s question + background music + paranormal response) disappeared from its position on the tape at count 46 of the counter, and accidentally was found at count 24 of the same tape a few days later (“Parasciences” no. 9, p. 23 and followings, plus direct information).
Engineer Martin WENZEL, critical observer of SCHREIBER’s works, later tried, among others, his own different and somewhat successful procedure. At the side of a monitor without HF, he placed a structured pattern (wallpaper with gross design, or graph paper), then placed the video camera operated in stationary feedback mode in such a way that at the screen side multiple, ribbon-shaped representations of the original took form side by side, while increasingly noise-laden, and in these ‘extras’ appeared. In a ‘first field examination’ made by three well known parapsychologists under false preconditions, the method was observed online. Later, was published by BERGER et al. in JSPR a report which the author considers as absolutely insufficient and in itself contradictory, with which also this annoying subject was to be wiped off the table and swept to beneath the ‘scientific carpet’, quasi officially and definitely – in a way similar to what in the past happened to VOT after ELLIS’ inglorious book.
In contrast to SCHREIBER’s experiments, in which a single fade-in transimage was detectable only occasionally even by a trained eye, the TV sequences at CETL had already in their beginning a duration of appearance that allowed at least ephemeral recognition (minimum: 0,1 to 0,2 sec. maximum in July 1987: 135 sec., ratio 1000:1). The recordings made from January, 87 onward document an increasing control of the ‘transmission’: longer animated scenes lasting over seconds, reduced elaborateness regarding the technical equipment, cessation of the instructions for the arranging of the persons inside the recording room, unprecedented combination of (freeze-)frame and sound (Ill. 44; A-6.7, F-38.11). The transimages were announced up to weeks in advance, or with short notice, and the indicated times were respected to the minute. Within the pauses between the parts of a transmission  occasionally transient regular structures were detected, out of which no images took shape.
 comparable perhaps with the meanwhile considerably reduced pauses occurring with KOENIG’s direct electro-acoustic voices.
At HOMES, too, the major part of the transimages produced after previous announcement, but without exact time indications, on a relatively old black-and-white, or a colour TV receiver, both tuned to free channels. No additional appliances were used; the freeze-frame sequences received came true at long intervals (see 38.12.15), each time several minutes after equipment switch-on, and lasted several tenth of a second up to 25 seconds. Using a camcorder, HOMES took them from the screen. Like with CETL, the development began with an indistinct light shape, and led quickly to images of excellent quality. For the second picture of JUERGENSON no announcement had been made, but the experimenter had the feeling of having to do a recording experiment.
Contrary to the closed electronic-optical feedback arrangements, a TV set tuned to a free channel, or a video recorder are – even without aerial - not absolutely tight against normal terrestrial irradiation. The paranormal character of an image having manifested under these conditions can only be evidenced out of the context (announcement or explanation via other ITC channels), by the technical way of appearance, and by the content of the image, the latter being the most reliable feature. When, for instance, one recognizes with sufficient certainty a deceased person to whom one feels very close, it makes no sense to assume that its image was broadcasted by an earthly station. BABCOCK and SAUER performed successful experiments – as recommended above – with a computer monitor without HF receiver, with which normal irradiation is excluded. Also computer images are reliable witnesses for paranormal occurrence, provided conscious manipulation from the experimenter’s side, or internet connections can be excluded.
The results published by H.O. KOENIG from 1992 onward constitute a particularity so far as they have been achieved by means of a special experimental set-up, the block diagram of which was represented in the periodical “Parastimme” (Paravoice) (no. 1-2 of 12/1994, p. 8). Two synchronized complex random generators modulate a 320 MHz picture carrier and a 314.5 MHz sound carrier which are eradiated horizontally polarized with a few mW, and received again. A converter connected in series with the TV monitor converts the signals. During each time 60 seconds, the system maintains a frequency pattern constant, and then changes to a different one. Transimages accompanied by speech can appear in one of these ‘windows’. Some persons have been recognized, particularly evident is the compliance of the paranormal image of a female person with the picture on the limp binding of the ‘accidentally’ found book “Hannah ARENDT – Karl JASPERS Briefwechsel” (Hannah ARENDT – Karl JASPERS correspondence). The author expresses Mr. KOENIG his thanks for having released two examples for this book (Ill. 55 and 56).
In the course of the last years, Alfonso GALEANO, Barcelona, in cooperation with José GARRIDO, extended the feedback process introduced by Klaus SCHREIBER by an additional screen illumination with one incandescent lamp. It is of interest here that, depending on the ‘skill’ in varying all parameters, freeze-frames appeared in form of unknown faces, which can be photographed or stored in a computer. In the early times of their image experiments, HARSCH-FISCHBACH and SCHREIBER had used UV light in a similar manner.
In the end, same as with the photographic ‘extras’, the way of transimage formation remains unexplained. Without evident results from technical examination all conjectures remain of as speculative character as is the case with the voices and the texts.
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