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Ghost Assemblies on the Musical Interruption of Production in Color Space and How to Redistribute Stolen Futures

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Abstract

The replication of blue opened the floodgates of everything LED-accelerating industrial capitalism with no sleep in sight. Further alienating workers from their bodies, the products of their work and their own culture, subsequently draining them of their agency. To establish an interruption of production, ghost assemblies have began to initiate gatherings for color subtractions. From inside a color space, they converse in a language of protest with potential polluted outcomes to locate and redistribute stolen futures. Communing inside frequencies of sound and color (as a result of the Schumann resonance excitation), their voices are transmitted for blue's subtraction (and red's replacement) using lunaites as signal devices. Diffusions of their individual tones connect and break apart in harmonies, extending their invisible movements as unique bodies in the color space to alter our destinations.
( { } )_ 𝑣𝑖𝑠𝑖𝑏𝑙𝑒 𝑤𝑖𝑛𝑑𝑜𝑤
1
Ghost Assemblies on the Musical Interruption of Production in
Color Space and How to Redistribute Stolen Futures
Cammack Lindsey1 and i.ruuu 2
1 Research Centre on Color Space & Cyanobacteria Subjugation
2 Ghost Society for Potential Polluted Outcomes and Languages of Protest
A B S T R A C T —
The replication of blue opened the floodgates of everything LED— accelerating industrial capitalism with no sleep in sight.
Further alienating workers from their bodies, the products of their work and their own culture, subsequently draining them
of their agency. To establish an interruption of production, ghost assemblies have began to initiate gatherings for color
subtractions. From inside a color space, they converse in a language of protest with potential polluted outcomes to locate
and redistribute stolen futures. Communing inside frequencies of sound and color (as a result of the Schumann resonance
excitation), their voices are transmitted for blue’s subtraction (and red’s replacement) using lunaites as signal devices.
Diffusions of their individual tones connect and break apart in harmonies, extending their invisible movements as unique
bodies in the color space to alter our destinations.
© 2019 Cammack Lindsey All rights reserved. !
I. Introduction!
Their reds were extracted from strato-mesophoric per-
turbations known as sprites and elves . To preserve their illumi
1-
nation, they are held in lunaites (lunar meteorites) carved out of
2
hardened lava and crystals found in the Earth’s outer mantle
containing nuclides produced by reactions of cosmic ray expo-
sure in it’s descent through the ionosphere. These lunaites also
serve as signal devices in the process of communication be-
tween ghosts, and were the key to exposing further information
regarding their interruptions of production.
During their work within the color space, the ghosts
peeked into our possible outcomes. Upon their insertion into our
futures, they reacted: “whoever owned this place, these cities,
whoever owned those glittering glassy office buildings in mid-
town filled with the purr of money turning over, those refineries
over the river in Jersey with their flames licking the air, they
gave nothing back. They took and took and left their garbage
choking the air, the river, the sea itself. Choking her. A life of
garbage. Human garbage.” And in these moments, their own
3
memories flooded back of past experiences in factories in and
around the 1960-80’s where “Malay factory women were seized
by vengeful spirits, exploding into dynamic screaming and rage
on the shop floor.” In a 1978 paper entitled “How to Handle Hys-
terical Factory Workers” in Singapore, Dr. P. K. Chew com-
plained that “this psychological aberration interrupts production”
indicating that incidents of this behavior “should be handled “like
an epidemic disease of bacteriological origin."4
II. Signal Devices Functioning
The ghost’s signal devices are activated from lighten-
ing discharge that penetrates Earth’s crust and is stored inside
cavities as electromagnetic waves. These light channels that
radiate electromagnetic energy between roughly 7 to 45 Hertz
account for the Schumann resonance excitation , also known as
5
the Earth’s Pulse. Fluctuations in thunderstorm activity are di-
rectly attributed to lunar modulation of the Earth’s magnetic field
and are shown to increase/decrease depending on the lunar
phase. During the new and full moon the thunderstorm activity
6
is increased and the communication signals are emitted. After
obtaining information from the electrical discharge, further sig-
nals shown to be exiting from the lunaites, then seemingly ap-
peared to translate themselves into an air of languages found to
exist in all colors, lights and within the frequency spectrum of
the Schumann resonance.
UW Sprite Balloon Experiment 2002, University of Washington, https://earthweb.ess.washington.edu/space/AtmosElec/spriteinfo.html
1
Lunar Meteorites, Department of Earth and Planetary Sciences, Washington University in St. Louis. http://meteorites.wustl.edu/lunar/moon_mete
2-
orites.htm
Marge Piercy (1976). “Woman on the Edge of Time”
3
Aihwa Ong (1988). The Production of Possession: Spirits and the Multinational Corporation in Malaysia
4
Janis Galejs, Applied Research Laboratory, Sylvania Electronic Systems (1965). Schumann Resonances
5
Barbara Bell, Richard J. Defouw (1966). Dependence of the Lunar Modulation of Geomagnetic Activity on the Celestial Latitude of the Moon
6
( { } )_ 𝑣𝑖𝑠𝑖𝑏𝑙𝑒 𝑤𝑖𝑛𝑑𝑜𝑤
2
III. Color and Color space
As the ghost’s language encompasses most of our
surroundings and it’s influence is heavily saturated in forms of
lights and their colors, a deeper understanding can only ensue
after further research into scientific findings of color and color
space. The greatest power to reset an organism’s daily meter
lay in the blues, with a precipitous decline into the greens and a
modest boost in the reds. Blue activates the melanopsin pho
7-
toreceptor system and our brain structures involved in higher
attentional processes , but it is also a ‘predator’ in the realm of
8
light and color. It is used to stimulate longevity of productivity in
the masses and is secreted into human environments through
forms of screens and white light emitting diodes (LED)— thus
extending humans waking productivity hours and also causing
sleeplessness. In a study of elite female basketball players, red-
light irradiation was found to improve the quality of sleep, offer-
ing a non-pharmacologic noninvasive therapy to prevent the
disorder of vigorous training.9
In simpler terms, the ghosts describe their existence
within their color space as an unburial of a utopia. A utopia that
would be “described as meaningless and dangerous” by many,
meanwhile “at the same time the utopia of neoliberalism is cele-
brated.”10 A celebration and acceptance of those very neoliber-
als that enable a continued abuse of the color blue, meanwhile
the ghosts remain invisible. From the very belly of those who
have buried utopian ideas, they hide away alternative realiza-
tions to the capitalist system at play through a total “collapse of
formal social states… interpreted as their final downfall.”
For internal neurophysiological mapping of a color
space, post receptor cells both combine and subtract cone sig-
nals, thereby giving rise to three new types of color channels:
two opponent chromatic channels (R-G, Y-B) and one non op-
ponent achromatic channel (Wh-Bk)— as shown below.11
The properties to conceive a composite represention of
a phenomenal structure of color and the structure of the visual
system covary, also known as ‘color space’ refers to the follow-
ing multilevel description:
"(i). receptor space: the raw array of local activity under
given illumination conditions in a scene;
(ii). “lightness” indictor space: the globally integrated
activity at various levels after discarding the illuminant
from the receptor space via lateral interactions;
(iii). physiological channels space: the local activity at
various levels after discarding the illuminant from the
receptor space via lateral interactions;
(iv.) psychophysical channel space: the perceptual, high-
level integration into separable mechanisms, obtained on
the basis of the underlying physiological activity relevant
to color channels;
(v). Phenomenal space: the color appearance space of
hue, chroma or saturation, and value or brightness. 10
In our following equationA to successfully simulate a
color space, visible window is used to indicate the extent of the
wavelength sensitivity within low dimensionality. A low dimen-
sional space is chosen with a basis of a few functions when
added together in the correct proportions— spacing the entire
diversity of actual lights and reflectances. The rest follows de-
pending on the illumination uniformity over space and re-
flectance functions with measurements of typical ambient condi-
tions and object reflectances.
III. I. Final simulation and transcription of ghost language B
In the final simulation of a phenomenal structure of
color space, the light transformation is utilized in the subtraction
of color channels: Rd, Bl, & Wh-Bk. Illumination and reflection
amplify the resonant frequencies of these color channels in or-
der to decipher the ghost language of light&color and to more
apprehend its effects on our environment (while other low fre-
quencies diffused in the low-dimensional space contribute to a
equalization of the Schumann resonance). To distribute these
extremely low frequencies we have constructed several PEMF
(pulsed electromagnetic field) devices. Different methods at-
tempted to bridge communication with these ghosts, such as
harmonies of hex codes can be found in ( { } )_ 𝑣𝑖𝑠𝑖𝑏𝑙𝑒 𝑤𝑖𝑛𝑑𝑜𝑤
two ‘songs’:
2. #000019-#0000FF
6. #190000-#FF0000"
David C. Holzman (2010). What’s in a Color? The Unique Human Health Effects of Blue Light
7
Dr Stuart Peirson from Oxford's Sleep and Circadian Neuroscience Institute (2016), http://www.ox.ac.uk/news/2016-06-09-lighting-colour-affects-
8
sleep-and-wakefulness
Jiexiu Zhao, PhD, Ye Tian, PhD, Jinlei Nie, PhD, Jincheng Xu, MSS, and Dongsen Liu, MS (2012). Red Light and the Sleep Quality and Endurance
9
Performance of Chinese Basketball Players
Evan Thompson, Adrain Palacios, and Francisco J. Varela (1998, The MIT Press). Ways of Coloring: Comparative Color Vision as a Case Study for
10
Cognitive Science
( { } )_ 𝑣𝑖𝑠𝑖𝑏𝑙𝑒 𝑤𝑖𝑛𝑑𝑜𝑤
3
IV. Trriumphant Symbiosis with Prolific Futures
In their musical collaboration with i.ruuu, they were
encouraged to demonstrate public performances of their execu-
tions inside the color space to initiate an awareness to the po-
tential polluted outcomes, in a language invention interpreted as
unintended protests. But that, along with these inevitable out-
comes, accompanies a greater emergence of opposition. “In
reality, the tree grows on itself, species come together, fuse, and
make new beings, who start again…. Symbiosis, like sex, brings
previously evolved beings together into new partnerships. Like
sex, too, some symbioses are protracted unions with stable
prolific futures.” The discovered future outcomes with
11
cyanobacteria evolve in two stages :
(1) From additional mechanics on future humans and their
extended cyanobacteria bodies needed to breath in
clean oxygen that would as well foresee a renaissance
of the human singing voice C
(2) And finally, a evocation of cyanobacteria itself found
inside future ruins of klärwerk falkenberg (located on the
periphery of Berlin, Marzahn)
The first confirmed outbreak of human poisoning involv-
ing cyanobacteria’s cyanotoxins took place in the town of Caru-
aru, Brazil, in 1996, when patients began to complain of
headache, eye pain, blurred vision, nausea, and vomiting. A
total of 76 patients died from liver complications due to the use
of water contaminated by cyanotoxins. But somehow these
12
events, along with many others remained ‘hushed’ as we were
tricked by the cyanobacteria’s popular nickname ‘blue/green
algae. ‘ We would never even have a clue about their cyanotox-
ins that happen to include some of the most powerful natural
poisons known- until we were consumed inside them.
Man transforms the nature because he is frightened by
it’s limitations, fragility and unpredictability. Man condemns the
13
nature as the other, something un-human we must overcome
and fall victim to. An other, that we must subdue and discipline
to serve the interests of our society, in order to realize our syn-
thetic dreams into realities. But as carbon dioxide levels in the
atmosphere continue to rise, nature returns again a fear we
hoped we had overcome and reassumes its power over us as
we have failed in its domination. And we begin to look back to
those who were there from the very beginning for our own sus-
tainability in the future, the cyanobacteria. Thus in the dawning
their subjugation of man, they “can help us understand some of
what is most unnerving and frightening in our existence – the
corporate cannibalism, the loss of self and apparent loss of
agency and especially loss of empowerment.”14
V. Performance of Ghost Assemblies
The ghost’s main concern was the amount of lost fu-
tures they found to be wandering in the color space. They were
soon to reach a maximum usage of space, as the futures were
slowly beginning to fade away. Using this an incentive to begin
to simulate their color space and language in public spaces,
they were eager to collaborate with i.ruuu. Upon the ghost’s
requests, the best format to transmit their color space would be
a sort of musical theater simulation. They wanted to extra em-
phasize that it should and would not be an opera, as they reject
this as high-society form of entertainment for the Bourgeoisie.
So— i.ruuu and the ghosts took their inspirations from early
ballad operas such at ‘The Three Penny Opera’ and their transi-
tion into what is today known as broadway and musical theater,
in combination with open sourced computer software generated
sounds (…and all sort of other things).
Performers of the musical “ ( { } )_ 𝑣𝑖𝑠𝑖𝑏𝑙𝑒 𝑤𝑖𝑛𝑑𝑜𝑤
were allowed to embody the ghosts, as their knowledge was
temporarily transferred to the performer’s bodies. Through this
transfer of an unbodied assembly to visible bodies, an al-
lowance of transparency was issued for the prospect of redis-
tributing the stolen futures. But in the subtraction the color blue
and it’s replacement with red—the limit of their ‘physical’ inter-
ference is reached. They can only then hope that their subtrac-
tions can re-activate our stolen futures and awaken our embed-
ded pasts. Capitalist realism derives in part from the way capi-
talism subsumes and consumes all previous history—assigning
cultural objects a monetary value. In our accumulations, it be-
comes necessary to place ourselves in any positions of influ-
ence (big and small) and in pathways of knowledge to recognize
decisions and risks to be made to realign again our futures.
15
A P P E N D I X S U P P L M E N T A R Y D A T A
A) The final conclusion of the equation was first introduced as
var simulate presented during Ars Electronica 2018 at ‘Sonatas
for Sleep/less’, curated by She Lea Cheang and Matthew Fuller.
The following is diagram of the execution :
B) A transcription of the musical performance can be pur-
chased/ achieved through contact with Cammack Lindsey at the
email: cammack.lindsey@gmail.com
C) Also seen in artwork, ‘Airs for Algae’ from Cammack Lindsey
Lynn Margulis (1998), The Symbiotic Planet: A New Look at Evolution
11
Giliane Zanchett and Eduardo C. Oliveira-Filho (2013). Cyanobacteria and Cyanotoxins: From Impacts on Aquatic Ecosystems and Human Health to
12
Anticarcinogenic Effects
A. Spirkin (1984). Dialectical Materialism. Chapter 5. On the Human Being and Being Human / Man in the Realm of Nature
13
Špela Petrič (2017). Contronting Vegetal Otherness: Strange Encounters
14
Mark Fischer (2009). Capital Realism, is There no Alternative?
15
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ResearchGate has not been able to resolve any references for this publication.