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Rorschach Audio - Art and Illusion for Sound Rather like a persistent contemporary myth, embedded deep in our cultural signifiers such as film and literature, the possibility of the haunting of technology by something essentially deeply irrational refuses to be completely eradicated. Recall the white noise on the television screen in the film Poltergeist and the intermittent interruption of garbled, disjointed voices 'from beyond'. This is not so far from the subject of Joe Banks's (aka Disinformation) book, which is both based on - and the culmination of- his Rorschach Audio Project and which now forms the present volume of four chapters. Let us state from the outset that Banks himself does not believe in such 'hauntings' but is fascinated by both the illusionary qualities implicit in sound that will give rise to such beliefs as well as the perceptual ambiguity that will require a closure, or projection, on the part of the listener. This is the central core of the book's investigation. Its starting point is the cultish, pseudoscientific movement of EVP (Electronic Voice Phenomenon) introduced by Freidrich Jiirgenson, a painter, in 1964 and developed more thoroughly by one-time Jung pupil Konstantin Raudive in his book with associated transcriptions and sound recordings entitled Breakthrough of 1971. Both Jiirgenson and Raudive felt they were offering scientific proof of the existence of life after death captured by new sound-recording techniques. Raudive's recordings have been used as a source for numerous sound artists, including Susan Hiller no less, who suggested that Raudive's recordings of tape recorders left running in empty rooms provide 'a very compelling metaphor for the kind of things that interest me, wanting to find the space between...