Donald H. Wolfraim
Just as the outer world imprints itself on one’s inner cognitive consciousness, so also is the activity of the psyche reflected upon the outer external world, which is often perceived clairvoyantly and even photographed. As there is no actual boundary preventing this mental and emotional psychic phenomenon from being projected onto the energy-mirror of the... physical world, psychic imprinting occurs. Both mind and world are in a constant state of interactively reflecting each other. C. G. Jung, in Aion: Researches into the Phenomenology of the Self, informs us that:
The Psyche cannot be totally different from matter, for how otherwise could it move matter? And matter cannot be alien to psyche, for how else could matter produce psyche? Psyche and matter exist in one and the same world, and each partakes of the other, otherwise any reciprocal action would be impossible. If research could only advance far enough, therefore, we should arrive at an ultimate agreement between physical and psychological concepts.
Joseph R. Buchanan, an American professor of physiology first coined the name psychometry in 1842, a term derived from the Greek words psyche, meaning "soul," and metron, meaning "measure. He began running a series of psychometric experiment using his students, with the goal of identifying different unknown chemical substances in glass vials. The results of these experiments were successful, which he published in his book, Journal of Man in 1887.
Psychometry is the ability to be psychically aware of the energy patterns that we all leave on the objects around us. These impressions received through psychometry not only include images but often sounds, tastes, smells and emotions as well. As physical objects are not consciously aware of their surroundings, where do these memory-fragments of past events come from? They are imprinted on the objective world by a human mind – by the consciousness of an individual experiencing a particular psychological or physical event. Imprinting is a phenomenon that is constantly taking place between all of us and the things and places that we are constantly in contact with.
Imprinting can also occurr in a particular place in which a very dramatic or emotional event has occurred, being literally imprinted on the surrounding atmosphere and remaining there for an extended period of time. I remember walking into a large retail store at Christmas time and being confronted with the negative atmosphere created by the hundreds of shoppers who had come and gone, all in a mutual state of distress over the urgent emotional need to finish their shopping in time. This is also what happens in the creation of residual haunting phenomena.
But how can we prove that psychic imprinting actually occurs? Well we can actually photograph them! As far back as 1910, Tomokichi Fukurai in Japan was scientifically investigating pictures produced by the mind. He was able to capture very clear thought-images transferred directly to dry photographic plates that were securely wrapped and handled under scientifically controlled conditions.
In 1963, Jule Eisenbud, a Professor of Psychiatry at the Medical School in Denver, happened to meet a very gifted 45 year old psychic by the name of Ted Serios who was living in Chicago at the time. During the following three years, Eisenbud investigated and proved beyond any reasonable doubt that Serios could repeatedly produce recognizable mental images of distant buildings, landscapes and objects, simply by staring into a Polaroid camera. This was done in front of many reputable witnesses under the strictest experimental controls, which prohibited Ted from even touching the camera. Yet he was able to produced hundreds of recognizable pictures simply by imaginatively projecting these mental images, which magically appeared on the developed photographic film. The phenomenon of psychic photography or thoughtography clearly demonstrates that an interaction does take place between a projected mental image and the emulsion of photographic film.
In recent posts, Hugh Fairman has attempted to explain Tina Lauent’s Para.Pics in terms of quantum theory, which both he and prominent physicists don’t quite understand. Quantum theory deals exclusively with objective physical phenomena on the microcosmic level of reality and based on statistical theories, which can never adequately explain the nature of psychic events, even though many individuals in the past have attempted to do so. Given that such a theory could explain Para.Pics, there is absoluterly no way we could test such a theory within a quantum context. If we ever hope to explain how Para.Pics are created and photographed we have to dramatically shift our level of discourse.
If psychic images produced by the human mind can be captured on a photographic emmulsion so also can they appear on any physical surface, such a wattery mist, which is the medium that Tina Laurent is presently using to project her images upon. The important question is whether she is psychically picking up imprinted images from some spiritual realm or merely imaginatively creating these images herself? If we are presented with a photograph of the thoughtform of a squirel on Tina’s wattery-canvas, what are we to believe? At the present time I really don’t believe that there is sufficient evidence to assume that these images are either a quantum phenomenon or a supernatural one, but rather just another example of how mental images can be imprinted upon the physical world.
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The following is from Hugh Fairman
Here are some of Tina Laurent's para-pics in video format. I hope you enjoy it, and it gives a good clue what is out there for any mind that cares to access FIELD-pattern. the whole of history, the galaxies and their contained ET's, and telepathy, and that's just for starters. The real jump that science has make we think is 'scale up' the rules' of quantum physics and apply it to 'Life' by appreciating that Nature has built quantum computers long before physicists. FIELD-pattern contains 'all possible pathways' of both the photon, electron and the human. — at Tina Laurent's studio.
