On the fifth sub-basement level of the northeast regional archives compound (NERAC) are around 6,000 photographs and sketches depicting subjects whose faces are covered, either by their own hand or some other hand. There are versions of what’s known as “the woman with the gun” photograph (below) dating from circa 1948. It’s difficult to say which image is the original, the primary image, and in fact more than one archivist has suggested–after careful inspection of the details–that they are two separate photographs taken at precisely the same moment. This theory has gained traction of late, as digital encoding and sourcing technologies have improved to the point that we can say that the two images are, in fact, in perfect keeping with each other, apart from the two obvious differences (left-facing/right-facing and exposure). As improbable as it seems, we know now what quantum physics knows: that two incompatible states can exist simultaneously, that A and B can equal B and A, or BA/AB. The doubled, doppelgänged world is the natural world, made unnatural by its division. At NERAC the archivists are working to collapse that division and restore the balance.
Item #18,374 from the Lost Signals 35 mm reversal film archives, series C. This arrived at LS long ago, sometime in the autumn of 1968, from what can be gleaned. The boy in question (standing 4 from left) is, unfortunately, a familiar face here, whose name we are not yet prepared to reveal. (I.e., we are not yet equipped to defend ourselves from him once we expose him.) The camera in question, the one that hangs around his neck, does something terrible to those unfortunate to fall within its finder, its vision. It cripples them in a way that only gradually reveals itself, cripples them from within, a cancer of the soul, some have said, or else a cancer of spirit. In fact LS itself has lost to this crippledom a very dear archivist, in fact the very archivist who delivered this picture to us in ’68. This is the first of three images of “the boy” scheduled to be published here. We have to wait and gauge his response–and then settle upon our own response to his response–before pushing ahead with the other two posts.
On occasion there are artifacts from the archives that are unpublishable. Such is the case with an audio file so dangerous that it’s unlikely it has ever been listened to or heard. The file exists on a dedicated computer sealed in a soundproof studio in one of the rooms in the so-called “third basement” beneath the Lost Signals compound. It’s been played three times, in silence, and on one occasion its waveform image was captured, and is reproduced here. In 2002 an effort was made to re-create the audio from its waveform, the theory being that a version based on the source’s structural metadata might prove less toxic, if toxic at all. However, subsequent listening tests on mice proved, unfortunately, otherwise. The mice melted, which will be the subject of another posting.
So, the file exists, unlistenable as it is. Some would say it awaits its ideal listener, as a book awaits its ideal reader. For now, the closest we can come to hearing the file is the image below, undoubtedly a very poor iteration of the original.
From a box individual frames from 16mm “no wave” films circa NYC 1978-1981 comes this frame taken from Amos Poe’s 1978 film The Foreigner. The man in flight is Eric Mitchell, and while the frame depicts a familiar scene in the film–as the foreigner is chased by unknown people for unknown reasons–it actually does not appear in the film at all. In fact, the film frame seems to depict a meticulously reconstructed moment that appears to have been in the film (to casual observers) but which, in truth, is entirely absent.
Why would someone go to the trouble of creating a false film frame from an obscure, underground 1978 film, and how did we detect is falseness? Second question first: the authentic version of The Foreigner was produced on acetate base film stock, common for the era. The frame in question, however, is a polyester film based, not used widely until the mid-1990s. Also, while it’s clear that every effort has been made by the forgers to capture a “1978 NYC environment,” there are several clues which point to the 1990s such as the street light bulb housing/casing, a shape which seems to evoke the 1970s, but which actually dates to decades later.
As to the first question, we understand that there are those who would undermine not only the Lost Signals archives, but the entire notion of historical archives themselves, slowly supplanting authentic, time-sourced samples with false, ahistorical ones. We here at LS were made to “discover” (through an anonymous tip that led us to a remote storage shed) this supposed trove of rare film frames and archive them as “real” when, in fact, they are anything but.
We see this as an opportunity, a chance to confront and expose those who would propagate archives across the world with reproduced–but slightly altered–versions of their authentic counterparts.
The full title of the bulletin reads: The Ore Knob Copper Deposit North Carolina, and Other Massive Sulfide Deposits of the Appalachians. Published in 1967 by the United States Government Printing Office, the subtitle is: Effects of dynamic and thermal metamorphism on primary ore textures at Ore Knob are described, and similar Appalachian deposits are compared. The copy archived at Lost Signals contains, folded within one of the accompanying maps, written in French in fine dip pen, a note that seems to reference a page (“p. 109”) and a date (“24 Septembre 1648”). Proceeding along the lines that randomness is simply disarranged order (a basic tenant of those who established the archive) it’s been determined that the date refers to the death of Marin Mersenne, a French mathematician, philosopher, and music theorist who battled against the Brotherhood of Rosicricians, an occult group of well-educated alchemists who published several hoax books, etc.
Why the slip of paper should be folded into this particular map is, of course, the as-yet-unanswered question. This item remains one of the hundreds of open cases, cases returned to on a rotating basis for further investigation and speculation. —E. Edgewood
Leaked by an anonymous hacker to Stage1st, this is the only known electron microscope image of the silent, non-immunogenic, synthetic megavirus LiBaiXH90361. The LiBaiXH90361 megavirus, named after the famous Chinese spy Li Bai, was alledgely developed by an secret bio-intelligence Chinese laboratory in 2016 as the first artificial virus designed to carry artificially encoded information in its DNA. Its viral capsid is not a conventional protein shell, but made from a non-immunogenic synthetic nanomaterial that doesn’t infect cells or recombine with the host’s genome.
Once intravenously injected, the LiBaiXH90361 megavirus travels freely and quiescent across the human or animal bloodstream, only detectable in a blood sample by a mass-spectrometry assay. It is said that an unspecifiable number of dogs and humans had already become true libraries of classified file-viruses, unknowingly transporting occult, undetectable DNA-encoded messages around the world. However, a group of microbiologists from the Miskatonic University who are dismissing the whole story as another bioengineering hoax, have identified the image as just a blurred photograph of a lichen growing on a stone wall. —Germán Sierra