Practical Electromagnetic Mood Management

How might covert interests acting as a parasite within an authoritarian regime -- with access to trillions of military research dollars annually -- construct a centrally-directed, practical, electromagnetic mood manipulation apparatus that can be implemented by distributed means?

I'm going to sketch something out for you step-by-step:

Spend some time at www.aolstalker.com, and think about whether it's not a little bit like reading somebody else's mind. Then think about what commercial advertisers and the National Security Agency are doing with your searches, and think about the possibility of electromagnetic Google Advertising for the psyche.

What sorts of electromagnetic fields might be useful in this context?

To start thinking about this, we have to first understand something called "stochastic interference." In this context, its relevance is related to the idea that discrete randomness can create the appearance of global statistical continuity.

Here's a useful analogy:


1. We know that some types of electromagnetic radiation cause cancer

2. We know that the radiation from powerlines probably doesn't cause cancer

However, we also know that:

3. The radiation from powerlines (in the countryside and in your walls) is pervasive

4. The radiation from powerlines is not EXACTLY 60hz


Point 4. is important. If we view the 60hz Alternating Current on the power lines as a signal, we must recognize that there will be some noise on the line. Because the electrons "traveling" down the power lines interact with the material of the powerlines, the powerlines will resonate at different frequencies. The 60hz AC signal will bleed into other frequencies.

So we can accept points 1. and 2. above, but we should also ask: can we get cancer from the radiation emitted by power lines PLUS all the other sources of electromagnetic radiation in our environment? Can the radiation from powerlines interact with LOCAL radiation sources to produce cancer-causing radiation?

Scientists who study "stochastic interference" study these sorts of problems.

So what sorts of electromagnetic fields might be useful for practical electromagnetic mood management?

It turns out that there are all sorts of devices in your environment that can produce very specific types of electromagnetic radiation, which can be made to stochastically interact with a global signal.

Tempest for Eliza, a piece of open source Linux software, will allow you to use a conventional CRT monitor to broadcast an AM radio signal. You can broadcast MP3's to your radio from your computer monitor!

Now think about how close people sit to computer monitors all day, and examine some of the patents recently issued to Hendricus Loos.

Now imagine the capbilities of the previous two links delivered to you in secret (either as a virus like the FBI's Carnivore system, or else built into your commercial software at the request of a central government).

What would the goal of such a system be?

Well, think about clocks. We often think about clocks as tools used to measure out the day. But from the perspective of systems theory, clocks are also a way to synchronize the behavior of large numbers of humans, who are not otherwise in direct contact with oneanother. Clocks are pretty amazing, really.

We all know we've found all sorts of great uses for clocks. They're especially good for industrialists.

Systems theory tells us that many diverse types of organized systems can be found to exhibit the same mathematical behaviors. The math for thermodynamics, optics, entropy, and image compression is all related.

I wonder what other sorts of uses the NSA has for this patent on synchronization methodology.

How might electromagnetic radiation be put into the environment in sufficient quantities and with sufficient control to affect a mass manipulation of mood?

It turns out that there are all sorts of suitable facilities under the control of central governments. Consider the US Government using HAARP and ELF transmitters such as that at Clam Lake to broadcast a range of acceptable mood alterations. Devices in your local environment with processing capabilities, such as your cellphone or your computer, may then generate radiation that cancels out or enhances certain resonances in the ambient environment. The appropriate signal for a local device to generate can be selected algorithmically according to your Internet browsing behavior.

Social Criticism in Modern Times and Brazil

Fig. 1. Demonstrating the use of visual allusion in Terry Gilliam's Brazil; here, a reference to the famous Odessa Steps sequence in Battleship Potemkin.

Fig. 2. The workplace. Early establishing shots from Charlie Chaplin's Modern Times (left) and Brazil (right).

Fig. 3. Entangled in society’s problems. Gears in Modern Times (left) represent the Victorian sensibilities that led to the commodification of labor, and systems of social manipulation based on the control of access to labor (and hence corporate conflict with the unions). Wires in Brazil (right) represent the insights of industrialization (such as innovations in communication and management spawned by the railroads) that led to the commodification of information, and systems of social manipulation based on the control of access to information.

Fig. 4. Guards and gates controlling access to labor in Modern Times (left, at a factory); metal detectors and automated ID checks controlling access to information in Brazil (right, at the Ministry of Information).

Fig. 5. Closing shots from Modern Times (left) and Brazil (right). In both cases, the protagonists are seen leaving behind them long straight roads across relatively featureless terrain, and heading into scenic mountain country. Note the telephone wires at the road edge in Modern Times, compared to the advertisements at the road edge in Brazil; in either case this detail can be read as prophetic of coming battles or as suggestive of a course of action. In the case of Brazil, the final shots imply a strong cynicism, while Modern Times ends on an optimistic note.

Fig. 6. Penned-in by the demands of society. Note the picture of the Great Emancipator on the wall in Chaplin’s cell (left).

Social Criticism in Modern Times and Brazil.

Satire is a popular form of social criticism in part because humor can diffuse attacks on social practices to which audiences are often a party. Modern Times used satire to criticize the industrial infrastructure that keeps so many people in poverty (by controlling who gets to work), and Brazil used satire to criticize the information infrastructure that keeps people ignorant of the ways in which they are manipulated (by controlling what people are able to know about their own lives).

Both films, which use cinema to communicate their critique, use a medium that is in many ways synonymous with social manipulation: the earliest Soviet theorists recognized the potential of cinema for mass indoctrination just as well as contemporary marketers recognize the potential of cinema for the broad manufacture of consumer demand. Humor, then, is also a way of addressing potential charges of hypocrisy in satire.

A Contemporary perspective suggests a certain irony in Chaplin’s use of cinema for his critique: cinema was emblematic of industrialization, a marvel of technical innovation and precision, and a cultural phenomena. The manufacture of the image, control of the image, and demand for the image moreover are the sustaining forces of capitalism (brand is image).

Paul Valery suggested that the prehistoric valuation of the image was related to both:

1) the degree to which "prehistoric" representations were abstracted from reality (more valued the less recognizable),

as well as

2) the infrequency with which "prehistoric" peoples encountered images.

The image, photographic media, and the motion picture in particular represent both the bleaching of the sacred from the image (at 24 frames each second, in the case of motion picture film), and the commodification of the sublime (through the mass-re-production of the image, which was originally the product of sacred behaviors).

A strange new medium - which, from this perspective, is so thoroughly corrupt - would seem an odd choice for a message with the social conscience of Modern Times. Likewise Brazil, for its criticism of advertising and marketing, would have had no hope of communicating with anybody were it not for the advertising and marketing infrastructure that brought the film to theatres.

Moreover, the use of video surveillance systems figure prominently in each film at times, signifying to audiences that it is not lost on the filmmaker that the moving image figures prominently in broad attempts to manipulate society. The two filmmakers seem to have shared a prescient vision of how it feels to live in a society dominated by policing behavior. The Pavlovian manipulation of behavior in either film depicts the effects of the surveillance society on the individual. Each film controls the image to indicate how the image is used to control individuals. The films are not ironic, but cautionary.

It is precisely control that is at issue in either film: each film argues for the rights of the individual, but places the protagonist in an environment that overwhelms him with opposition. Like the protagonist in George Orwell's 1984, the preoccupations of either film's protagonist concern a struggle to find some small bit of private comfort. The protagonist in either film, however, is left with very little control over his own life: the Tramp is continually put out of work, can’t find a place to live, and society wants to deny him his love. Sam Lowry throughout Brazil is in a constant state of confusion, can’t keep his house in order, and society doesn’t want him to love what he loves. Both protagonists take new jobs for the sake of their love; and both protagonists are denied by systems of social control the happiness they seek.

Issues of control in each film center on what each filmmaker viewed as the vital commodity that power structures seek to exploit. In Modern Times, the most important commodity in industrialized society is labor. To regulate the efficiency of the workforce (such as with the automated feeding machine in Modern Times, or in Brazil Sam Lowry’s automated apartment connected to his alarm clock), industrialists sought to control the commodity value of labor by manipulating supply and demand. Of course, demand always increases -- both for access to the means of production and for the product -- but if workers can be made to be more efficient, then the same amount of labor can yield more product, and the retail value of labor itself can be manipulated.

In Brazil, we are shown a society that is regulated like a bureaucracy which controls information to control the cost of controlling the populace. Information retrieval charges, arrest charges, and interrogation charges describe a society that places a premium value on information; at the same time, the movie is populated with characters who don’t know how to perform their jobs, who can’t afford to find out where the Gestapo have taken their loved ones, and who are left without any real information whatsoever, and thus entirely unable to take control of their own lives (because information, in Brazil, IS control).