FIGURE 8: ANASAZI PETROGLYPH
Semiotics, in the manner Norseen applies it, is a study of the structure by which we all communicate. We have to become the right tuning fork, find the right resonances with whom we converse, to understand the communications. When he encountered the sound and shadow of the wasp, Norseen spoke of the reaction impacting the amygdala section of the brain, momentarily overwhelming consciousness with a learned fear. The wasp signal springs to life an information “pattern” stored within the Amygdala section of the brain, modulated by the Locus Cereleus, and Striatum Beds, precipitating a specific biological reaction. He was illustrating how different semiotic resonances can cause our perceptions of reality to change.
FIGURE 9: ABRAMS EARLY 19TH CENTURY RADIONICS DEVICE
The semiotics trigger a latent behavior pattern coded into memory by a symbol. Likewise, the symbol will trigger a resonance in the brain of a specific memory or circumstance. This resonance can be extracted by a variety of possible means. For instance, the delivery mechanism could be a visual cue (like the hornet), or a specific a drug, or a subliminal pattern encrypted into something innocuous, such as a musical tone or phrase. The delivery could also be through something indeterminate, like a radionic intention, which acts upon non-verbal patterning in the brain.
Radionics is a methodology for calibrating intention and translating it into a means capable of manipulating pattern. It is a way of moving energy by use of the mind. Art acts in a radionic manner when the artwork compels a reaction from the viewer. By virtue of the stored intention of the artist invested in the medium, an effect on the viewer is predicted. In this sense, the artwork is also a semiotic structure. Art-making, Radionics and the Norseen Semiotic all converge in meaning around this one task, transfer of intent from artist to observer of art. Each discipline reveals something about the others.
Art-making can be a way of moving energy and changing assumptions in the viewer’s mind. Radionics can be better understood if viewed as a semiotic apparatus of some kind. Semiotics provides a language for overcoming the self-referential limitations and occult context of radionic technology. Art processes make semiotics comprehensible in ordinary day to day terms.
Norseen suggested that what occurs when a revolutionary artwork is inserted into cultural consciousness is that the artist has welded together the resonant frequencies of various semiotic structures that hitherto have not been associated in the public mind. As the semiotics within the artwork hit the brain of the viewer (the Interpretant) extreme emotions can result. These emotions can be as severe in their own way as the semiotic shadow of the wasp was to Norseen in his back yard. The art form goes beyond metaphor, energetically behaving like something filled with motive force that discharges its capacitance (semiotic information) into the viewer’s consciousness.
The semiotitians view this process more like the radionic practitioner would. A signal triggers a pattern in the brain that results in energy being moved, i.e. a healing takes place or an emotional reaction occurs. Both are information to energy transactions.
The technical details are critical to understanding the connection of semiotics to radionics as well as their scientific feasibility. Theoretically, each thought represents an energy dispersion pattern which can be monitored by mixed electromagnetic sensors and described mathematically in a brain print. This brain print can be inverted and retransmitted back into the brain much like an encoded memory, and the brain will act upon this inverse signal as if it were a real signal from the environment. This process is what Norseen refers to as “BioFusion” in his work and literature. Theoretically, a brain print is a form of identification that also carries knowledge of intent. If you alter the brain print in some manner, you also alter the intent. This would explain why BioFusion has potential as an offensive and defensive weapons system.
FIGURE 11: AUDITORY BRAIN PRINT
Let me put the concept of BioFusion in the context of a family experience. I am with my wife and daughters on vacation in a remote part of the Maine seacoast near the Canadian border. We are in our little white farmhouse; it is dark and lonely and the Milky Way is bright overhead. I sit by digesting my early conversations with Norseen. My teen daughter asks us to watch the film “8 Mile”, the story of a rap musician, Eminem, growing up in suburban Detroit.
The movie is about rap music “contests”. Rap musicians square off against each other in nightclubs using linguistic combat. I begin to sense in this art form a method of unwinding the cultural semiotic. The viewer of these linguistic battles begins to feel how our society has failed to deliver on its promises to these youths in every way.
The artistic combat is to see who can get deeper, via their language, into the core of each issue, i.e. whatever is being “rapped” about. Language itself is coupled with beat, and together they become an “instrument” for cultural deconditioning. The procedure appears to have radionic overtones. Powerfully felt intention is supplied by Eminem; the rap discourse (the instrument} serves to decondition cultural assumptions of the audience. The pressure on the rap performer is to shed emotional superficialities. He must embody a powerful authenticity in order to entrain his audience. When he does, a powerful current, the carrier wave of liberation spreads like a catharsis through the audience.
I could sense in this film the energetic power of highly tuned semiotics. The effect was the diametrical opposite of using directed intention for the purpose of controlling someone’s perceptions or motivations. Yet, the linguistic skill of Eminem had much in common with Reflexive Control & BioFusion, excepting that it liberated the recipient’s energy rather than tighten it down.
To understand one, it seems, is to know the other. That is the hope and the danger. We might want to give the artist some better tools....
“You got it. Amygdala and Reflexive Control. I especially liked the rapper discussion...correct. I will go over this again and make specific markings, but you are on the right track. All communication is Symbol as defined by Object, Representation and Interpretation...communication is the flow of intention as energy using semiotics as the roadmap.
Imagine a humming bird feeder. It is full of red sweet fluid. The bird or insect that sees this goes wild because not only does it compel where to land, but sustains life; the entire occupation and life senses of the bird or insect now swarm about this red fluid in the bird feeder...the Semiotic. Now if this bird feeder is equipped with a resonance machine or extra endomorphs...it can actually reach out and snare the bird or insect as opposed to it being a chance encounter.
I see Art and Radionics as more and more of this Purposeful conversion of intent into energy using semiotics of a more and more powerful kind…the powerful kind that automatically cause reflexive control in the brain system...the amygdala in particular. The amygdala executes pure memory; you cannot distinguish it from dream or real life or intense imagination...it is pure signal. When you can create Semiotics that Radionically manifest at the pure signal level, then the Artwork or semiotic is directly tied into the REALITY of the intention and is very powerful...in some brains this is total control. Use of semiotics and radionics can in effect turn someone’s brain into a tool of intentional control.