Two of the greatest creators I profoundly admire for their always insightful and ever balanced overview are Carl Sagan and Adam Curtis – there’s not a thing they produced that I can’t get tired of appreciating. While Sagan was an inspiring author for our scientific dreams, Curtis offers cautionary tales regarding those same dreams. Curtis’ “Pandora’s Box” in particular is required viewing just as Sagan’s Cosmos is.
But they don’t contradict each other, as Curtis never once blames science itself, that ideal thing we try to practice. Instead Curtis exposes how science paradoxically vanishes when people try to promote it with too much eagerness, as that eagerness often translates into misapplied science through political struggle, and that misapplication, that struggle, is his main focus.
Unlike Sagan, Curtis is still with us, actively producing great material, and sharing a lot of it on his very own blog at BBC. His latest post is a gem with great film snippets on “The Ghosts in the Living Room”. How the depiction of ghosts evolved in the small screen, and the link between the Enfield Poltergeist and Ghostwatch.
Which is an opportunity for me to comment a very interesting piece on the Poltergeist mania of the 1970s, the Philip Experiment. A fictional ghost was invented, with a background story full of holes. And they managed to contact the imaginary spirit!
This was a thought provoking isolation of variables, and the results are promoted by those proposing Poltergeist phenomena may be actually psychic manifestations of very living people. Given that a fictional “ghost” manifested mostly all the same paranormal phenomena as allegedly real ghosts, one could do away with actual ghosts and work solely with the collective unconscious. Very well, but Occam’s razor may cut deeper.
I bought and watched the 15 minute documentary on “Philip, the Imaginary Ghost”. It’s fascinating, but exactly because I couldn’t see a single instance where the alleged physical manifestations of the imaginary ghost couldn’t be attributed to the ideomotor effect, that is, movements made unconsciously by the participants.
In the clip above, one participant mentions the “doily nights’”, where they put doilies under all the hands over the table, to make sure that no one was moving it – in which case the stacked doilies would slide and be behind the hand, showing the direction and origin of movement. This method comes directly from the original protocol used by legendary Michael Faraday in the 19th century to prove that precisely table-moving was the result of the ideomotor effect. The stacked cards he put under the hands of “very honourable, very clear in their intentions” parties all showed that whenever the table moved, the hands moved first and further. Never the other way around.
So why did the Philip Experiment obtain results that Faraday couldn’t? Perhaps they had actual paranormal powers, or perhaps their controls were not as good as Faraday’s. One thing all the recorded film that I could see shows is that it’s always the table top that goes forward in one direction, with the legs behind. Though their doilies allegedly contradict Faraday’s cards, the table itself may be evidence they were unconsciously, but very mundanely, moving it by the top, doing away with the last paranormal thing in the experiment and providing another look on how very honourable parties may be integral part of the Poltergeists they investigate, blurring the distinction between their imagination and the reality.
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