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Thesis (M.A.)--Eastern Illinois University, 2009. / Includes bibliographical references (leaves 67-73).

The purpose of this thesis is to explore musical anomalies that are allegedly paranormal in origin. From a wide range of categories available, three areas are investigated: • music and telepathy • music written by mediums professedly contacted by dead composers • music being heard where the physical source of sound is unknown and presumed to be paranormal. In the first part a method of sensory masking (referred to as ganzfeld) is used to study the possibility of the emotional or physical content of music being capable of mind transference. A further experiment presents additional results relating to the highest scoring individuals in the previous trials. No systematic evidence for the telepathic communication of music was found. In the second section a number of mediums and the music they produced are investigated to examine the truthfulness of their claims of spiritual intervention in compositions and performances. Methods of composition are investigated and the music is analysed by experts. For the final part of the thesis locations are specified where reports of anomalous music have been asserted and people claiming to have heard such music are introduced and their statements examined. Literature from a variety of data bases is considered to ascertain whether the evidence for paranormal music consists of genuine material, misconceived perceptions or fraudulent claims. Only a very few examples of fraud are discovered, but seemingly genuine anomalies are generally found to consist of mistaken identities or the embroidery of anecdotal facts. It would appear that human susceptibility and enthusiasm for the paranormal are responsible for most of the data discovered. The results bring together information on two subjects that have not previously been seriously linked.

Thesis (B.A. (Hons.)) from the Department of Psychology, University of Adelaide, 1976.

The aims of this investigation were firstly to find whether 371 subjects, mainly students at Rhodes University, would be able to reproduce target drawings made 470 miles away by an agent in Cape Town, by means of General Extra-Sensory Perception; secondly, to find whether any association existed between any such hit scoring ability shown and personality ratings derived from a battery of personality test material; and thirdly, to find whether providing the subjects with material designed to link them more closely with the agent would increase their scoring rate. The 17,440 drawings returned by the subjects were randomised, and scored against a randomised set of 100 drawings consisting of 50 which had actually been used as targets, intermixed with 50 that were equal in difficulty but which had not been used as targets, and which were inserted merely as controls. Three independent judges assessed the subjects' drawings, and awarded hits in terms of title, shape and association. In the crucial title hits highly significant deviations in favour of the experimental target drawings were found, the control series of drawings showing no such effects. It was found that the subjects' hits were distributed evenly throughout the whole 25 day period of the experiment for each target, and showed no tendency to occur more frequently in the week a particular drawing was being used as a target than in the other weeks when it was not. When the subjects were divided into a high scoring and low-scoring group in terms of their E.S. P. abiility, the high- scoring group proved to be significantly more extraverted (as measured by the Bernreuter B3I scale) than the low- scoring group, confirming a relationship previously reported by Humphrey. In addition the data showed several other relationships, predicted by the work of previous experimenters, although these did not reach the .01 level of statistical significance. To assess the effect of the Linkage Material the subjects were divided into an experimental and a control group. The Experimental Group was supplied with correct Linkage Material, the Control Group with incorrect Linkage Material, which they were led to believe was correct . The two sets of Linkage Material were equated in all other respects. The Experimental Group showed significant improvements in scoring rate when supplied with a photograph and description of the agent, and a probably significant improvement when supplied with squares of handkerchief which had previously belonged to him. When supplied with squares of colour, also appearing on the agent's target sheets, no significant increase in scoring rate took place on the target drawings, but a significant decrease occurred in hits scored on the control targets. By contrast no consistent significant fluctuations were shown by Control Group Subjects, leading to the conclusion that the correctness of the Linkage Material was a factor contributing to its effectiveness. A qualitative examination of the hits scored by the subjects revealed that they tended to reproduce the concepts depicted by the target drawings, rather than the actual shapes drawn by the agent, suggesting that the hits were being produced by a telepathic process rather than a clairvoyant one. The results of the experiment suggest that the subjects were assisted by the Linkage Material to gain access to the agent's mind as a whole, and not to particular items in it. This throws doubt on the correctness of Whately Carington's Association Theory of Telepathy, which the experiment was designed to test.

This project proceeds from a narrow question: What, if anything, is a brain wave? Beguiling in its simplicity, this question prompts a cultural-historical investigation that spans over 150 years of science, technology, and society. Proposed in 1869, the original theory of brain waves cites etheric undulations to explain reports of apparent thought transference. Though most modern thinkers no longer believe in outright telepathy, I argue that dreams of thought transmission and other mental miracles subtly persist—not in obscure and occult circles, but at the forefront of technoscience. A hybrid of science and fiction, brain waves represent an ideal subject through which to explore the ways in which technical language shrouds spiritual dreams. Today, the phrase “brain waves” often function as shorthand for electrical changes in the brain, particularly in the context of technologies that purport to “read” some aspect of mental function, or to transmit neural data to a digital device. While such technologies appear uniquely modern, the history of brain waves reveals that they are merely the millennial incarnation of a much older hope—a hope for transmission and transcendence via the brain’s emanations.

This thesis investigates the impact of telepathy and psi on conceptual and performance art from 1968. Emerging from the author???s art practice, the thesis argues telepathy is a key leitmotif and creative concern within much post 60s art, and has become central to the practice of a number of contemporary video, performance and new media artists. This thesis is composed of two interrelated parts: an exhibition of the artwork by the author concerning telepathic processes, and a written project which uses the major themes of the exhibition to frame an historical study of a number of key contemporary artists whom, it is argued, work with telepathy. These artists, Jane and Louise Wilson, Suzanne Treister and Susan Hiller are discussed under the themes of ???twinning and doubling,??? ???technological mediums??? and ???telepathy experiments???. These themes also overlap in the authors artwork, are introduced through an overarching analysis of the work of performance artist Marina Abramovi?? and philosopher Jacques Derrida who, it is argued, provide a new model of telepathy as an art practice. In addition, the thesis argues that telepathy is an often suppressed thematic in art which may not appear to directly address it, and uses the work on the Wilsons, Treister and Hiller to re-look at other 20th Century artists and artistic themes in the light of the conclusions it draws on telepathy and art. Walter Benjamin greatly admired the Surrealists, but had virtually no time for their interest in telepathy, hypnosis and psi. Together with positive materialist misappropriations of Adorno???s Thesis Against Occultism, artistic and theoretical work with telepathy and psi has been sidelined from other important themes in art and critical theory, all of which telepathy and psi illuminate, energise and empower. The art of the author and other more recognised and established artists can be seen to work with telepathy in ways that flow into and reinforce the grain of progressive leftist practice and aesthetics. Women???s work with telepathy should be considered as important as women???s work with sexuality. Women, sexuality, Otherness, liminality, spirituality, telepathy, trauma, healing, radical politics, and other taboo areas of patriachal codes, were adandoned by macho participants of fluxus and Conceptual art. The recent conceptual and performance tilt in contemporary art sheds new light on the problem of working within and developing an effective and dynamic lineage of telepathy in post 60s art as well as early modern art movements. Contemporary developments in science, engineering, biology, psychoanalysis, warfare, popular culture and sociology show the wider relevance of discourse on telepathy. There is much at stake for visual art, aesthetics and visuality in representing, celebrating and interrogating the theme of psi and telepathy in current practice and art history. Artists??? work with telepathy and psi, although not always explicitly psychological, political or aesthetic, is often very psychologically, politically and aesthetically effective.

This thesis interrogates the interaction between feminist utopianism and altered states of consciousness in fiction from 1970 onwards. The thesis develops further both Lyman Tower Sargent's definition of utopianism as "social dreaming" and Tom Moylan's understanding of critical utopia. It also develops and expands Lucy Sargisson's definition of feminist utopianism as subversive, fluid, ambiguous and committed to ongoing personal and social transformation. Utopianism must challenge society's norms and values, offering both social critique and social vision. I argue throughout this work that transforming individual consciousness is a vital step towards social change. The thesis focuses on four altered states of consciousness: madness, dreaming, spirituality and telepathy. These states are situated within a theoretical context, and are then explicated further through close literary analysis of feminist utopian literature. Altered states offer a metaphor for the need to think differently, and highlight the importance of looking at society in new and alternative ways. In a significant number of feminist utopian texts, utopia is accessed through a dream or a vision, through spiritual meditation, telepathy, or a state of "madness". Within these texts, altered states are not only used as a means of accessing utopia but are also represented within the narrative as a means of maintaining or sustaining the utopian vision. Additionally, I show that altered states refers to the place of utopia, which is altered, or different to, contemporary society. The reader may also enter into an altered state through the process of reading the text, as their beliefs and assumptions about "the way things are" are challenged, denaturalised and subverted.

This thesis investigates the impact of telepathy and psi on conceptual and performance art from 1968. Emerging from the author???s art practice, the thesis argues telepathy is a key leitmotif and creative concern within much post 60s art, and has become central to the practice of a number of contemporary video, performance and new media artists. This thesis is composed of two interrelated parts: an exhibition of the artwork by the author concerning telepathic processes, and a written project which uses the major themes of the exhibition to frame an historical study of a number of key contemporary artists whom, it is argued, work with telepathy. These artists, Jane and Louise Wilson, Suzanne Treister and Susan Hiller are discussed under the themes of ???twinning and doubling,??? ???technological mediums??? and ???telepathy experiments???. These themes also overlap in the authors artwork, are introduced through an overarching analysis of the work of performance artist Marina Abramovi?? and philosopher Jacques Derrida who, it is argued, provide a new model of telepathy as an art practice. In addition, the thesis argues that telepathy is an often suppressed thematic in art which may not appear to directly address it, and uses the work on the Wilsons, Treister and Hiller to re-look at other 20th Century artists and artistic themes in the light of the conclusions it draws on telepathy and art. Walter Benjamin greatly admired the Surrealists, but had virtually no time for their interest in telepathy, hypnosis and psi. Together with positive materialist misappropriations of Adorno???s Thesis Against Occultism, artistic and theoretical work with telepathy and psi has been sidelined from other important themes in art and critical theory, all of which telepathy and psi illuminate, energise and empower. The art of the author and other more recognised and established artists can be seen to work with telepathy in ways that flow into and reinforce the grain of progressive leftist practice and aesthetics. Women???s work with telepathy should be considered as important as women???s work with sexuality. Women, sexuality, Otherness, liminality, spirituality, telepathy, trauma, healing, radical politics, and other taboo areas of patriachal codes, were adandoned by macho participants of fluxus and Conceptual art. The recent conceptual and performance tilt in contemporary art sheds new light on the problem of working within and developing an effective and dynamic lineage of telepathy in post 60s art as well as early modern art movements. Contemporary developments in science, engineering, biology, psychoanalysis, warfare, popular culture and sociology show the wider relevance of discourse on telepathy. There is much at stake for visual art, aesthetics and visuality in representing, celebrating and interrogating the theme of psi and telepathy in current practice and art history. Artists??? work with telepathy and psi, although not always explicitly psychological, political or aesthetic, is often very psychologically, politically and aesthetically effective.