In somewhat the same vein as yesterday's post, which was about the capacity of subsonic standing waves to induce the sensations we often associate with a haunting, today we have: a way to pick paranormal messages out of ambient (and random) noise.
You've probably heard about the idea of electronic voice phenomena, which was popularized as a ghost-hunting method by Latvian paranormal researcher Konstantīns Raudive in the 1970s and has become a standard tool in the kit ever since. The idea is that you place a recording device of some kind -- it started out with reel-to-reel, then cassette tape recorders, and finally moved on to digital voice recorders -- in an allegedly haunted location, leave it running, and later listen to the recording for any anomalous sounds. Adepts claim that they hear human voices.
Some of these EVP are more convincing than others, but all of them tend to be muffled and slurred, and to benefit greatly from the phenomenon of suggestion -- once someone tells you that the voice is a ghost saying "I died in 1859" you're much more likely to hear the message. This is the same thing that occurred with the foolishness surrounding backmasking -- that supposedly, rock bands were including satanic messages in their music that could only be understood consciously if you played the song backwards, but could be somehow picked up subliminally even if you heard it played forwards. (One of the most popular claims of backmasking involved Led Zeppelin's famous "Stairway to Heaven.") The problem is, even played backwards, the messages are pretty damn garbled -- but miraculously clear up when you know ahead of time what it's supposed to be saying.
As James Randi put it, "You can't miss it if I tell you what's there."
There's apparently a new way to approach all this that's becoming popular amongst the ghost hunting crowd, and I learned about it from British paranormalist Ashley Knibb's website just yesterday. It's called the "Estes method," named after Estes Park, Colorado, home of the Stanley Hotel (made famous in The Shining). The idea here is that a volunteer "receiver" is blindfolded and puts on headphones connected to a radio that's set on "scan" mode, so the only auditory input (s)he gets is blips and fragments of speech or music, interspersed with white noise. Another volunteer, the "recorder," asks questions -- not of the receiver, but of any ghosts that happen to be present -- while the receiver (who, presumably, can't hear the receiver) reports any interesting phrases heard from the random radio input, which the recorder then writes down.
The claim is that this isolates the receiver; (s)he relies only on any ghosts present to jigger about with the radio and use its audio output to answer what the recorder is asking.
Well, okay. There are a couple of problems with this, and to his credit, Knibb mentions both of them (although you get the feeling he is still inclined to think that something paranormal may be going on here).
The first is that how the random phrases picked up by the receiver are interpreted afterward is very much dependent upon the subjective opinions of the ones doing the interpretation. You may recall the famous experiment done by Carl Sagan in a high school class, where he told the students that their birthdates and times had been used to draw up astrological charts and create a personality profile for each of them, and handed out cards with the results. The students were then asked to rate how accurately it described them, from zero to ten. Not a single card received a score lower than six; most were between eight and ten.
Wow, astrology vindicated, right?
Not exactly. Sagan then had the students exchange cards with a neighbor -- and it turned out they'd all been given the same personality profiles.
The point is, when we are given some random piece of text, we're all too likely to interpret it as if it means something -- especially if we walked into the situation already primed to think it does.
The second problem, of course, is exactly the same as what I described in yesterday's post; apophenia, our built-in tendency to find order in random input. The receiver in the Estes method is trying his/her hardest to listen for anything that sounds meaningful; after all, that's why (s)he's there. It's not a far step to consider the possibility that the receiver might (even if unconsciously) create something meaningful out of what is, honestly, chaos.
Again, as with yesterday, I'm not accusing anyone of anything underhanded. Hoaxes aren't even necessary, given how easily our own sensory-perceptive systems can play us false.
So I'm not thinking the Estes method is going to convince anyone who's not already convinced. As far as the ghost hunters go, no harm if it amuses you, but it still doesn't meet the minimum criterion required for acceptable evidence in a scientific setting.
Me, I'm still in the camp of Andrew MacPhee, the hard-nosed skeptic in C. S. Lewis's novel That Hideous Strength:"My uncle, Dr. Duncanson," said MacPhee, "whose name may be familiar to you — he was Moderator of the General Assembly over the water, in Scotland — used to say, 'Show it to me in the word of God.' And then he’d slap the big Bible on the table. It was a way he had of shutting up people that came to him blathering about religious experiences. And granting his premises, he was quite right. I don’t hold his views, Mrs. Studdock, you understand, but I work on the same principles. If anything wants Andrew MacPhee to believe in its existence, I’ll be obliged if it will present itself in full daylight, with a sufficient number of witnesses present, and not get shy if you hold up a camera or a thermometer."







