This project combines, for demonstration purposes, two unconventional techniques relating to subliminally evoked response. These are the trifilar coil and energetic analogues of human emotions. If an electronic signal is viewed upon a laboratory oscilloscope, its progression over time can be seen as a cyclic rise and fall from a horizontal baseline. The rate and contour of this action determines its inductive effects upon living systems. In technical language, these parameters correspond respectively to frequency and wave shape. Of primary relevance to this article is the latter.
The kinetics of wave shape are sensed on a somatic or “gut” level. This susceptibility can be exploited to induce specific moods or emotional states. The process relies upon invariable energy metrics that underpin humanity’s near-uniform appreciation of music, art and architecture. The imparted feeling of any of the wave progressions illustrated above may be simulated by imagining you are riding over it as if across undulating terrain. This same dynamic can be transmitted as an electronic stimulus of similarly varying amplitude. Being thus obscure to the ordinary senses, and devoid of informational content, any subsequent response is involuntary and transparent to cultural interpretations.
The standard test instrument for user-programmed wave shaping is an arbitrary wave generator. These start at around $200-300 purchase price. A more generally accessible option is audio editing software such as the free Audacity that provides a graphical interface for this same function.
The above screenshot of displays the wave shape attributed to “joy” by the previous diagram. Audacity depicts it in bilateral symmetry to match the sound card’s bipolar output. Due to the inherently slow time frame of natural somatic response, the preferred repetition rate is about once every two seconds, or 0.5Hz. Functionally, such an “envelope” can only be superimposed upon a previously generated audio tone. Criteria for choosing the latter as a compatible influence are explained on the Remedial Energies page. In the example below, 8000Hz is the first lower harmonic of the acoustic resonance of the inner ear. Begin from Audacity’s top menu bar as follows
New > Generate > Tone. Waveform: sine, Frequency: 8000, Amplitude: 0.8, Duration: 2 seconds or 2000mS.
To superimpose the envelope, drag the lower edge of the track window downward to enlarge the work space. Select the icon situated between the “I” and pencil. Left click your mouse repeatedly along upper and lower margins of this portion of the track to place handles in positions that align vertically with the anticipated peaks and valleys of the final wave. Each is then dragged up, down or sideways to define the corresponding voltage amplitude at that point. To make this easier, you can enlarge one of the above wave plots and position it over the screen. Conclude by adding extra handles at the key transitions, and drag to smooth out the contour of the wave. Note that the envelope is applied only to the leading 61.8 percent of the linear time frame. This provides a Phi ratioed stimulation recovery period.
The resulting single cycle complex signal is made continuous by playing it back in loop mode from the within software. Alternatively, an MP3 recording can be made of same for use with a hardware device. Here is a saved two second sound file of the above completed signal.
The trifilar coil is an elaboration upon the non-inductive bifilar coil. During winding, a third wire is interleaved flat between the usual two. When an identical signal is fed separately into each winding of the bifilar portion, but in opposite directions, their electromagnetic fields repel and cancel. Any dynamic they originally contained is thereby imprinted as a virtual substructure upon the non-cancelled signal within the third conductor. If the latter happens to be music, sound effects or voice, this serves to both mask the hidden content and conform with conventional modes of electronic processing and replay.
The above technique can be compounded by routing any such imprinted signal through successive trifilar coils as the cancelling signal. Thus can be implemented nested layers of enfoldment, each aligned with a higher rotation of freedom relative to the physical domain. Although unrelated to the present discussion, this has implications for what might be termed “reality engineering”. For example, using frequency and wavelength to transpose structural information to higher dimensions that precondition condensed matter. Although beyond the scope of this discussion, the overall effect can be through “information sharing” between cancelled and non-cancelled signals.
To enhance mixing of force vectors, a cylindrical form material with non-linear properties is recommended. A convenient option is 25mm OD x 15mm ID x 10mm thick (or similar size) ferrite rings, widely sold for EMF suppression. Although short, they can be fastened together end-to-end with an even layer of masking tape, or glued. Twenty rings stacked to 200mm in length is a practical number. A plasma tube is another option, with the advantage that the ionisation frequency can contribute to the desired effect.
The coil is wound by first fastening, with tape, wires from three separate spools to one end of the ferrite former. The latter is then rotated in one hand, while nudging the wires into place side-by-side with the thumb of the other as it feeds of the spools. For best efficiency, there should be no gaps between adjacent windings. Continue until the entire former is covered, and tape the finished end to secure. If desired, the completed coil can be varnished or enclosed in heat shrink tubing for protection. To ensure a solid solder connection to the amplifier leads, about 10mm of clear enamel coating must first be removed from the ends of the wire with fine sandpaper. If you loose track of the terminations, check continuity with an ohmmeter.
As previously mentioned, the trifilar coil has windings to accommodate two separate signals. One is the music, sound effect or spoken voice to be consciously heard by persons within range of the speaker. A typical powering device would be a conventional hi-fi amplifier connected to a CD deck, MP3 player or line output from a computer sound card. If stereo, only one channel is used.
The second signal is the one to be cancelled, being the subliminal influence. This can originate from similar storage media, but is directed through its own amplifier. For reasons of safety and reliable construction, this should not be an automotive or mains powered type. Instead choose a kit or ready made module that is low wattage and operates from a mains-isolated, 12VDC supply. The Kemo 12 watt amp pictured below is one such option. An online search will reveal numerous suppliers of this popular item.
According to Ohm’s law, a 12 watt signal at 12 volts equates to a maximum possible output current of 1 amp from the Kemo module. This limit is enforced by the four 4 Ohm 10 watt ceramic resistors wired in parallel between the coils and amplifier. Together, they equal 16 ohms, thus providing a headroom 4 ohms. This assumes the amplifier is not being overdriven by an excessively high voltage input signal. If the resistors feel hot after a short period of operation, turn down the volume of the sound source until they run just warm.
Finally, referring back to construction of the trifilar coil, the amount of current to be passed determines what diameter enamel wire to use for winding. Consulting charts available online, 24 AWG appears suitable for carrying the 1 amp calculated above.
Possible uses for this technology include subliminal messaging, personal or group empathy and energetic reinforcement of artistic events. Please bear in mind, it may be unethical and possibly unlawful to attempt to influence anyone through covert means, particularly without their informed consent.
Keywords: Sentic cycles, Emotional connotations, Music language emotion, Sum-zero-vector, non-linear mixing, CoolEdit, Kemo amplifier module