Document Map Acquisition

We received last week, at our Manistique Outpost, a trove of geographical survey maps of an area of great interest to the collection. As is often the case, it’s not what’s depicted on the maps but what is not depicted that secures our interest.

Jacques Derrida once spoke of texts that were “shielded from interpretation,” or, put another way, were only present in their absence. On that level, these newly arrived maps tell us nothing, and thus everything.

LS vid1849

In a previous post, we noted that the Lost Signals Collection houses 11,336 audio files, only a fraction of which have been cleared, authorized, restored, tagged, transferred, filed properly, and published here. As far as video goes, the collection is even greater: 23,432 files as of January 1, 2018

Video 1849 was originally not part of that collection, but rather existed in a competitor’s archive, a competitor we have recently absorbed, in the most severe sense of the word. While the video seems all too familiar–the ambiguity regarding diegetic and non-diegetic sound, the nonsensical depiction of nature as malignant, the ominous phone–there lies beneath its surface another video layer, obscure except to those with the proper visual filters.

Ghost Setting

The “ghost setting” on the XLR 53 Nikon was intended, it seems, as a stunt designed to capitalize on the setting fetish that characterized the shift from analog to digital. Only three prototype cameras were manufactured, and of those only one managed to be smuggled out of on the Nikon head offices in Konan, Minato-ku, Tokyo. The footage is banal, except that the camera picks up audio frequencies undetected by the human ear. There is so much sound, fanged all around, not wanting to be found. Is it any wonder that the camera was scrapped, with a tag-line like that? In any case, the LS archives are in possession of 22 clips extracted from the only surviving camera. This is clip #3, with the ghost setting “on,” picking up frequency scraps otherwise undetectable.

erin’s book

This video’s metadata indicates it was filmed last week at the Lost Signals Midwest Regional Branch by someone unknown to us. In other words, right under our noses. Since its beginnings in the 1830s, Lost Signals has had its share of moles, spies, turncoats, and even saboteurs. (Those of you who received Bulletin #1 know about the unfortunate legacy of arson-fires that have plagued our various headquarters.) Despite ever harsher, extra-legal measures to deal with spies and other disruptors, which we ourselves have documented (at great potential risk) to circulate here among our employees as a warning, these excursions against Lost Signals continue.

Why the saboteur has named this video file “erin’s book” is unclear, although we have our theories. In any case, we post it here for you, the curious.

Tidal Resonances

Tagger Julio Stevens discovered from a paper published by the University of Oxford that the ‘complex tidal dynamics of the Bristol Channel are not yet fully understood’, in particular ‘the sensitivity of the quarter wavelength resonance to changes such as those caused by energy extraction.’ For years, Stevens, in deep meditation, has watched the tides of the Channel rise and fall: a difference of twelve point two metres from low to high. Close by his observation seat is the site of the receiving station to which Marconi first transmitted radio waves across open sea from Holm Island to Lavernock Point in South Wales.

Stevens is convinced that the natural resonances of the sea tides, and the manmade resonances of the telegraph have combined to open a vortex in space/time so that signals from parallel dimensions, postulated in the quantum theories of Anthony Aguirre and Max Tegmark, are received and recorded in the molecular structure of the concrete of the abandoned Lavernock bunkers. By attuning himself to the resonances of sea, air and light, Stevens claims to record in his wall art fragmentary transmissions from an island (or islands) in one (or more) of our parallel multiverses, that are not limited to any fixed moment in malleable Time. —David Enrique Spellman

The Skull Cult

Since the discovery of a hidden trench dwelling dug into the hillside behind an electronic appliance dump in a small town in Massachusetts, reports are emerging of the discovery of more underground chambers connected with the disappearance of Gerardo Fischer. It is thought that Fischer ran one, or more, archaeological projects in conjunction with the productions of his theatre company. The latest hidden chamber to be discovered lies close to the remains recently unearthed at Göbekli Tepi, in southern Turkey, that indicate the presence of a Neolithic skull cult.

There is no apparent indication of any connection between the Fischer chamber and the Göbekli Tepi archaeologists; other than coincidence, and Fischer’s known fascination with etched glass skulls. Amira Hamade, founder of the Iranian theatre group Gulmohar, is known to have worked with Gerardo Fischer on a production called The Flame Trees in a cave complex near Göbekli Tepi after she chose exile in Turkey following the Khomeini revolution in Iran.

Amira Hamade is convinced that these recently discovered skull remains are evidence of a force that resides in a deeper plane of being that links up author-nodes across continents via a spiderlike network in the collective unconscious. It was her daughter who discovered the cave chamber where Gerardo Fischer appears to have conducted his own archaeological research in this zone in southern Turkey.

The Kathryn Imbroglio

This footage depicts a camera infected by what it sees. The canister is labeled “Kino-Diablo” and has been in LS storage for some time, burning its way through storage level after level and into the sub-basements. Information is, or sometimes is, or sometimes can be a virus, and in this case the virus infected the apparatus (the term for cameras and camera equipment preferred by the Althusserian-Marxist theorists who discovered this film) so quickly that whatever aura it had most swiftly and notably (from a documentary perspective) melted not only the film and the camera, but the camera-woman herself.

*To hold a copy of The Bulletin of Lost Signals #1, please be advised of these procedures.