Evidence for Information Transfer Mechanisms in Water Vapour

8/13/2019 Evidence for Information Transfer Mechanisms in Water Vapour

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Evidence for Information Transfer Mechanisms in Water Vapour

Hugh Fairman

Outline Summary.

This article is to submit evidence to support the hypothesis that water is

capable of holding and transmitting information. To achieve this aim a

series of images is presented here which has been taken by digital

camera using certain techniques as described in the text. The author

contends that both the presence of discernible artefact form and the

range of colours captured render the statistical likelihood of such images

being attributable to random chance alone, or else simply an effect of

pareidolia, as being so remote as to be effectively dismissed.

Experimental aterials and ethod .

Essentially these images are taken using steam vapour as the background

information capture facilitating medium.

Setting. !ny secluded small room can be used. !ll extraneous light

sources must be excluded, and indeed it seems that success is more likely

if images are in fact taken after dark, in order to reduce the presence ofstray photons even further.

"amera. !ny digital camera of #$pix resolution or greater is adequate,

although success has been achieved at %pix resolution. ! photo&flash

facility should be incorporated into the camera 'usually a standard

feature(. There is no data available as to whether positioning the flash unit

at a site that is at an angle from the line of the camera lens is beneficial or

deleterious to image capture. !ll images shown here were taken with

absolutely standard digital cameras. The ma)ority of the pictures selectedhere were captured with a Sony *S"&+#$, and the outdoor ones with a

-anasonic umix %pix.

Steam is created by simply boiling fresh water in any suitable vessel be it

a saucepan or a kettle. ! reasonable quantity of boiling water will give off

vapour against a cooler background for quite some time when removed

from any heat source. Since it appears to be most effective when the

vapour cloud is not over&dense, the hot water is better transferred to a

suitable container for use. The latter is best made of ceramic material,

although aluminium may be used. /t seems that ferrous metals are better


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avoided, since success becomes less likely, possibly a consequence of

magnetic field interference effects.

0ackdrop. ! 1ft '#( square flat surface is used as the background. /t is

important that it has a matt&black light absorbent quality. !ny form of

back reflection of light, such as a shiny black paint leads to a double&

exposure effect and is less effective and creates image 2wipe&out3. The

best surface seems to be a tightly stretched piece of closely woven matt&

black cloth, as a single piece attached to the flat surface. !void placing

any )oins within the camera field.

The camera should be mounted stationary facing the backdrop, and the

'ceramic( bowl of steaming water placed so that the vapour rises between

the lens and background. The containing bowl itself should be invisible to

the camera field. -ictures are taken in a series of #$ to 1$ at a time insequence. Their analysis will come later, and little will be seen at the time.

Optional additions. 4nusually it has been found that the addition of fresh

vegetables such as potatoes, or even eggs seems to increase success

rates. The simple addition of inorganic ions in the form of sea salt has no

discernible beneficial effects. /t seems that since in effect the additions

are still alive that this fact in itself somehow influences matters.

ental !ttitude. The great ma)ority of these images were taken by a life&

long psychic. Since the likelihood of a successful outcome seems to havea relationship to the 2ind3 of the experimenter, it is best to at least

suspend dis&belief. Even this photographer took over 5 months of

repeated effort before discernible images started to emerge.

The interested lay person is perfectly capable of setting up such a photo&

booth.

Photographic Evidence.


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6 6/

6// 6///


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/7 7

7/ 7//

7/// 7/6


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76

The purpose of the #8 images selected above is to demonstrate both form

and colours. !ny meanings or derivations will not be covered here,

although in fact some of the image references are known.

/mage / This shows the presence of straight edges, and differing

colours. +hilst it might be reasonable to anticipate the colours of the

rainbow spectrum to occur in the presence of water vapour, brown is not a

colour of the spectrum.

/mage // !n indubitable artefact in the form of the letter 2*3 can beseen over on the 9 hand edge of the frame. There are other artefact hoop

shapes on the side and along the lower half of the image, which are

attached to an equally metallic looking straight bar.

/mage /// ! complete strait edged triangle of Euclidian accuracy may be

identified in the centre. The upper left corner has been deliberately

2broken3 and turned inwards.

/mage /6 /n the bottom corner can be seen the perfect outline of a

small building. /t has a convincing form, and is a small chapel.

/mage 6 The main centre image is that of a bottle. /t has a white top

and can be seen to possess a label. The latter has a secondary image

within it. :ote that it is not artificially symmetrical, as a real specimen

might show. /t looks more alike to a drawn image in many ways.

/mage 6/ !nother bottle fills the centre frame. /t is artefact and looks

like a wine or spirits container.

/mage 6// ! dark&blue boat leaves harbour. The straight edge of its bowis toward the , angling from top to lower edge. The curve of its transom


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runs parallel to the upper edge, and ends in a white cabin in the upper 9

corner. ! well depicted but rather faint red marker buoy is to be seen

close to the edge of the frame. Thus it is possible to say that this is

departure, and not arrival, since such buoys are channel markers, and

should be kept to port when the ship enters harbour. 'See note #(

/mage 6/// The circular wheel of the rear end of an open sports car should

be easily identifiable. /n fact this is probably a Triumph T91 sports model

'4; marque late #58$3s(.

/mage /7 ! single deep sea fan worm. Small fish swim around it.

/mage 7 This shows a deep sea giant amphipod. This is a crustacean

similar to ;rill or shrimp which are species that most are more familiar

with.

/mage 7/ ! close up view of two birds.

/mage 7// This shows a large brown insect in a vertical position in the

centre frame.

/mages 7///&76 This trio should be looked at as whole. Taken by another

operator 'with no psychic talents( in an outdoor setting it shows features

of interest. 7/// has steam only, with no added form, which is entirely to be

expected. 7/6 taken a few moments later shows a face above the plastic

blue 2dog bone3. 76 is an enlargement of the relevant portion of the wholeimage on 7/6. There is some slight colouration, a faint reddish tint, but it

is not as impressive as the other examples previously shown. The face

does show quite reasonably, but few would accept this image alone as

evidence.


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information3 to enable the viewer to make a completely secondary

deduction, relating to the vessel3s departure as opposed to arrival. /t is

possible to determine that this depicts a coastal related scene since red

channel marking buoys are not found in deeper waters.

"lear defined images of lower animal life forms have been selected here,

since there is far less probability of sub)ecting these more unusual

creatures to any mental pareidolic kind of response. :ote how they stand

out from any background as individual images on their own.

This short report is written simply to alert others of similar interest what

this technique can achieve.

Evidence for Information Transfer Mechanisms in Water Vapour

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