Postcard photo (left) and TV/video picture of the king
Bridge between the Terrestrial and the Beyond
- Theory and Practice of Transcommunication -
by Hildegard Schaefer (†)
Part 6 – Visual Transcommunication via Television and Video
One of the greatest sensations in the research on transcommunication was the appearance of the “dead” in television. The date of September 30th, 1985 will enter into the history of the research on transcommunication. That day it was for the first time possible to not only hear deceased via magnetic tape or cassette recorder, but to also see them via a screen.
The retired technician in fire protection, sixtyone years of age, succeeded after wearisome and arduous experiments in making his passed family members, with whom he was having contact via magnetic tape since a longer time already, visible on video.
Certainly, many experimenters and me, too, had already in earlier times received indications from interlocutors in the Beyond that one day they would show in television, but these communications were misunderstood and, above all, dismissed as untrustworthy. I remember well how queer and almost ridiculous I found it when an interlocutor in the Beyond said to me: “I am working on television.” (“Ich arbeite am Fernsehen.”), or replied to my question “What are you doing in the Beyond ?” (“Was machst du im Jenseits ?”): „I occupy myself with television.“ („Ich beschaeftige mich mit Fernsehen.“) I felt myself lead up the garden-path and thought: „This is certainly one of those who in their lifetime, too, sat always in front of their television set and who could not yet detach from their earthbound habits.“
The idea that in fact in the “Beyond” they could be working on a connection via television/video and that one day “dead” would show in television, was so prodigious that it was considered more or less as utopian.
However, during the last time, these announcements repeated. At Klaus Schreiber they even became very concrete. For example, it was said: “We come via television.” (“Wir kommen ueber Fernsehen.”) or „Soon you (will) see us in television.“ („Bald siehst du uns im Fernsehen.“ ). In May 1984, he was given the indication: „Record in TV.” (“Spiel im TV ein.“) This message motivated him and he began to work with video- and television camera, but without success. He did not know how to proceed and photographed the easy-chair on which his deceased mother had been sitting in her liftetime. He took slow-motion and quick-motion images, and still pictures, too, but nothing happened.
Klaus Schreiber did not dispose of any technical knowledge, nor had he any parapsychological or esoterical ambitions, but his love for his deceased relatives united him with them beyond the grave and gave him the force and the pertinacy needed for his time-consuming experiments, often lasting throughout the nights.
A further message received from the Beyond via magnetic tape induced him to direct his video camera to the television screen, with the consequence that he saw his television set a number of times on video.
The next hint from the other level of being put him on the right trail. The key to it was “empty channel”. Schreiber followed this advice, and now an undefinable cloudy formation developped on the screen, out of which then took shape his daughter Karin, passed at the age of eighteen. She was and remained to be his mediator in all his trials. It was also she who drew his attention to the fact that he must not take coloured pictures because the entities in the Beyond can show in black and white only.
Klaus Schreiber held the camera at approximately two to two-and-a-half meters distance from the television set. This way he took a great number of images resembling a tunnel. An infinity emerged down to a point out of which then the images from the Beyond built up. Each of the entities in the Beyond showed just an instant, so that they could only be made visible using the stop-motion mechanism. This means that when he took twentyfive pictures per second, and when recording for about five minutes, around 7500 stop-motion switchings were necessary for being able to perhaps see one entity from the Beyond.
Schreiber succeeded in recording not only his deceased family members (father, mother, spouse, daughter, son and other relatives), but also many other persons, known or unknown to him, as well as very important persons.
During the Basler PSI-Tage held in November 1985, Schreiber remitted his images from the Beyond to Rainer Holbe, presenter of the serial broadcasts “Unglaubliche Geschichten” (Unbelievable Stories) at Radio Luxemburg, who showed these photos in a subsequent transmission. As it had to be expected, the viewers were deeply embarrassed. The heading of a pictorial read: “Millions of TV viewers held their breaths.”
Rainer Holbe himself professed: “I am convinced that Klaus Schreiber’s material is authentic. We can by no means have to do with manipulation, because our technicians have verified his documents with utmost painstaking. I am impressed and fascinated.”
With these first results the series of Klaus Schreiber’s success was not at its end though. Many “inhabitants” of the Beyond, often persons absolutely unknown to him, showed on the screen; probably they wanted to convince the humans of their existence in the Beyond.
Among the prominent persons having clearly manifested on the screen were, first of all, Curd Juergens, Wolfgang Kieling, Romy Schneider, king Ludwig of Bavaria and the researcher of magnetic-tape voices Konstantin Raudive. When king Ludwig of Bavaria appeared on the screen, I was, together with friends, at Klaus Schreiber’s home in Aachen and thus was witness of this video recording. On the original video picture a shadow of a man can be seen at king Ludwig’s side, this man resembling Bernhard von Gutten. He was the king’s personal physician who, together with him, was recovered dead from the Starnberger See (lake of Starnberg). Via magnetic tape, king Ludwig announced his appearance: “Come via video.” ("Komme ueber Video.“) Three days later Klaus Schreiber received his picture.
Postcard photo (left) and TV/video picture of the king
When Romy Schneider showed on the TV screen, Rainer Holbe and his team were present and experienced this phenomenon with their own eyes. Later, during a conversation, Rainer Holbe gave out that his skin creeped when witnessing the slow making visible of Romy Schneider on the screen. Her profile was clearly recognizable and many newspapers and periodicals published these photos. She surprised Klaus Schreiber with the following statement on magnetic tape: “My son is with me – we are all united here.” (“Mein Sohn ist bei mir – wir alle sind hier vereint.“)
Romy Schneider on video
Out of the great volume of images from the Beyond Klaus Schreiber has received, and the manifestation of which was most times connected with an interesting occurrence, I would like to pick the below mentioned extraordinary case which highly surprised and impressed profoundly all those having got knowledge of it.
In the morning of March 14th, 1987, within the scope of the serial emissions of “Unglaubliche Geschichten” (“Unbelievable Stories”) presented regularly by Rainer Holbe via the RTL broadcasting station, the topic was ‘appearances of Maria’. Klaus Schreiber listened to this radio-casting while at the same time recording paranormal images according to the procedure by him conceived. Coupled to a female human shape interpretable as Maria, further extras appear and among these the picture of a clergyman.
To his question “Who are you ? Please answer me !” (Wer bist du ? Bitte antworte mir !“) Schreiber, very mediumistic, received via automatic writing the following message:
“Klaus, I come to you into your world of thoughts, and I will give you an answer. – I have been there a little prior to your time. I was an abbot. My name is Alois. In a monastry I have worked in your sense already before your time. Such things repeat again and again on our levels. So, exactly as you now in your time, I was not understood by my fellow-men and had to keep much of my knowledge quiet, except of a few items which I could teach without confusing men. – I will been seen at your (side) and recognized.”
(“Klaus, ich komme zu dir in deine Gedankenwelt, und ich werde dir eine Antwort geben. – Ich war ein wenig vor deiner Zeit da. Ich war ein Abt. Mein Name ist Alois. Ich habe in einem Kloster schon vor deiner Zeit in deinem Sinne gearbeitet. So etwas wiederholt sich immer wieder in unseren Ebenen. So bin ich, genauso wie du jetzt in deiner Zeit, von meinen Mitmenschen nicht verstanden worden und musste viel von meinem Wissen für mich behalten bis auf einige Punkte, die ich, ohne die Menschen zu verwirren, lehren konnte. – Man wird mich bei euch sehen und erkennen.“)
An experimenter in magnetic voices of Seligenstadt got to see the video picture through an acquainted and supposed the unknown clergyman might be Dr. Alois Wiesinger, deceased in 1955 and in former times abbot of the Cistercian convent in Schlierbach, upper Austria. His photo and curriculum vitae were to be found in the Imago Mundi paper, published by the Institut für Grenzgebiete der Wissenschaft (Institute for border areas of science) in 1985. In this report on particulars of the life of Alois Wiesinger it is said among others:
“Abbot Dr. Alois Wiesinger, Cistercian convent Schlierbach, OÖ (upper Austria), born in 1885, entered the Cistercian convent Schlierbach in 1905, had his consecration in 1909 and graduated in 1912. In the field of science abbot Wiesinger engaged in social problems and in that times’ discussion about the powers of soul. His book Okkulte Phänomene im Lichte der Theologie (Occult Phenomena in the Light of Theology) (1952) represented a courageous advocating for the issues of parapsychology and for a spiritual principle in man. In 1951 he founded, together with Josef Kral, the periodical Glaube und Erkenntnis (Belief and Comprehension). Abbot Wiesinger died in the year 1955.” (pls. see below photo, Imago Mundi)
“Abt Dr. Alois Wiesinger, Zisterzienserstift Schlierbach, OOE, geboren in 1885, trat 1905 in das Zisterzienserstift Schlierbach ein, wurde 1909 zum Priester geweiht und promovierte 1912. Auf wissenschaftlichem Gebiet befasste sich der Abt Wiesinger mit sozialen Problemen und mit der damaligen Auseinandersetzung über die Seelenkraefte. Sein Buch Okkulte Phaenomene im Lichte der Theologie war ein mutiges Eintreten für die Fragen der Parapsychologie und für ein geistiges Prinzip im Menschen. 1951 gruendete er mit Josef Kral die Zeitschrift Glaube und Erkenntnis. Abt Wiesinger starb im Jahre 1955.“
When comparing image and text we come across several concrete conformities. The pictures are not fully identical, but are so similar in characteristical details that the identity of the represented person is obvious.
|
|
|
|
The words abbot and monastry are concrete indications. The christian name Alois is identical. The mediumistically received statement “I have worked in your sense” ("Ich habe in Deinem Sinne gearbeitet”) is relevant. It has to be attributed to the publishing of Dr. Wiesinger’s book “Occult phenomena in the Light of Theology (“Okkulte Phaenomene im Lichte der Theologie”).
Out of the great volume of Schreiber’s material, I represent in the following several pictures of video manifestions of “inhabitants” of the Beyond.
Karin Schreiber (left video picture, right photo taken during her lifetime)
This man, dressed in a uniform with stripes and buttons, is an unknown
A brother-in-law of Klaus Schreiber
An unknown person
|
|
|
|
|
To all these reproduced pictures applies that their quality is by no means comparable with Schreiber’s original photos.
Klaus Schreiber describes his video recordings as follows:
Properly speaking, my video recordings have nothing to do with television as we known it. I use a simple re-recording set VP 100, which I connect only to my TV camera. This set is absolutely unable to record any TV broadcastings, because it is only connected with the camera by a re-recording cable. It has no receiver for television recordings, reason for which no broadcastings can drop in. With this set, connected with the TV camera and a television set connected only to the mains supply, I look through my camera – via the reflections - on the screen. A retroaction produces which, by the camera’s zoom, leads to these images.
My interlocutors in the Beyond communicated these details to me. My reproducible magnetic-tape voice recordings furnish the proof for it. I myself would never have been able to find this way and to understand it. For laymen the whole appears confusing, but as soon as one has understood the correlations, it is nevertheless easy.
As a complement, I would here give the description of a specialist describing Klaus Schreiber’s works and results professionally from his viewpoint.
Diplom-Ingenieur (professional engineer) Martin Wenzel of Aachen cooperated very closely with Klaus Schreiber. Wenzel, who at the beginning had a very sceptic attitude regarding Schreiber’s experiments, became his most eager collaborator and a proponent of Schreiber’s research after he had convinced himself of the authenticity of the phenomenon and the integrity of Klaus Schreiber. Here follows a report of Diplom-Ingenieur Klaus Schreiber:
For video recordings one must have a great lot of patience. After all, one minute of video recording delivers 1500 single images. An appropriate camera and a special video pre-amplifier are prerequisites for it. As monitor, simple black-and-white TV sets are sufficient, but one of these TV sets should have remote conrol. Colour television sets may also be used, but then the colour regulator must be turned to zero. At least one of the two video recorders should supply an excellent still picture (super still picture) and should be equipped with a stop-motion mechanism and a streak-free slow-motion device. The appliances selected shall be such ensuring that only the respective pertaining appliance reacts to the signal of the interested remote control. The quality of the tapes is of great importance. Low-quality tapes are quickly damaged because of the intense use of the still picture feature, and they dirty the recorder too much. Quality tapes of minimum available length (C 30, C 60 professional) repay.
Three different methods of recording are known which furnish well recognizable up to excellent images from the Beyond. A feature common to all methods is the provision of energy in form of visible light and of ultra-violet and infrared light. For this purpose black-light lamps and infrared lamps are arranged in the recording room in a manner to feebly light the screen. Household-type aluminium foil is fixed in such positions where it ensures that the light reaches the screen on different ways.
For video recordings suitable equipment is needed. Here below all the possibilities are listed, and depending on the respective method, the appliances are shown on diagrams.
black-and-white camera with zoom lense
special TransCom amplifier
VHS recorder with super still picture, streak-free slow-motion device and stop-motion switching. Backward stop-motion switching and backward slow-motion device are recommended.
TV set with remote control, black-and-white or colour, approx. 39 cm image diagonal
VHS recorder of good quality
black-and-white receivers featuring good framing control and contrast
low-noise Elektret microphone
low-noise TransCom microphone amplifier with level limiting
UV lamp with special light, two black-light lamps with different wave lengths, brand TransCom
infrared radiation lamp, current on the market
household-type aliminium foil
holder for basic structure
Now follows the exact recording method of Klaus Schreiber, noted down by Dipl-Ing. Martin Wenzel, Aachen, completed by diagrams (illustrations 1 and 2).
|
|
The UHF output of a video recorder (3) is in the usual way connected to a TV set (4) in such manner that a good picture is received when playing a tape carrying a recording (colour regulator at TV set on zero position). Then a video camera (1) is – via a special video amplifier (2) – connected to the video input of the recorder (3). The microphone incorporated in the camera is – via an audio amplifier in the video amplifier (2) - also lead to the video recorder. A separate microphone (7) with pre-amplifier (8) may be used as well (ill. 1). Via the recorder, the camera now delivers a picture which the TV set represents. Now the camera is directed onto the screen and on a print (temporarily) fixed on the screen for sharp camera adjustment. Now the camera “sees” on the screen the picture recorded by it like a picture visible on two mirrors placed one opposite to the other. The room is not made dark. Regular, not too light, reflections on the screen’s glass surface are mostly useful for the formation of an image. Initially one should see the screen on the screen, again and again, till arriving at a bright point.
By extremely sensitive adjustment of the diaphragm, the sharpness and the focus of the zoom lense of the camera, the brightness of the picture on the TV set (contrast set to maximum) as well as the video amplifier’s amplification go to the limit of vibration of this closed electro-optical circuit. In doing so, one should have patience in searching for the best distance and the most favourable lateral displacement of the camera in the situation given for each of the devices. In the state near natural vibration even the approaching of hands to the amplifier or to the camera causes changes to the “picture”, slow vibrations. With the adjustment of focus, sharpness and of the diaphragm of the camera’s objective, and with the adjustment of the amplifier, it is tried to obtain on the screen a kind of “wavering clouds”. The microphone pre-amplifier (8) and the volume at the TV set (4) are adjusted so as to constantly hear a low whistling (retroactive whistling). With a great lot of patience and by turning one’s chief attention to one’s actions, one now observes what happens on the screen. After having got some practice, one soon recognizes in the images an indication of faces and shapes. Not before having reached this point, the recorder (3) is set on “recording” for a few minutes.
The work actually requiring patience begins when analysing this video tape. Proceeding with stop-motion steps, clearer pictures must be searched on the material carrying dilusive images. When finding such, we arrive at the decisive moment. They are supplied from the recorder (3) as freezing frames and are recorded with the camera from the TV set’s screen (4) by using a second recorder (5) – to which a second TV set (6) is connected to serve as a monitor (Ill. 2).
|
|
Again, all possibilities of adjustment are used in order to obtain the pictures on the monitor (6) as clear as possible. And again a low retroactive whistling, adjusted at the amplifier (8) and the receiver (6) should be hearable. On the second monitor it already now shows, if it is a paranormal image what we see, or if we “saw” something “into” the image. If it is a paranormal image, it will come into prominence remarkably clearer on the monitor, if not it will appear fully blurred. The new tape of recorder (5) is now introduced into recorder (3), and with patience we search it for pictures suitable for further treatment. Having found such pictures, we again use the camera to record them with the recorder (5) as freezing frames from the screen (4). This procedure is repeated till a clear picture has come off. It may happen that, during a recording, suddenly an almost finished picture appears, which at normal video tape playing speed is recognizable only as a flickering, or not at all. Most times we find only one single image on the video tape with its 1500 pictures per minute ! Klaus Schreiber calls these images “drop-in pictures” ("Einfallbilder”).
Never, Klaus Schreiber made his work and his results a secret. He allowed insight into his recording studio to everyone visiting him in Aachen. He readily informed about every detail of the equipment and appliances used, agreed to every publication and tolerated the many visits of journalists, scientists and other – partly believing, partly sceptical – persons. He felt particularly close to Rainer Holbe because of their harmonic understanding.
Regrettably, malice was borne to him despite of this, and his success was assailed according to the principle “that not can be what not must be”. One might even suppose that his friends in the Beyond, especially his passed daughter Karin, recommended him a recording method in which the utilization of a TV set and of the other appliances so far used was absolutely superfluous.
This method based exclusively on light frequencies and UV light. On a linen screen fixed by Schreiber in his studio, mirrored light caused the generation of energy fields and paranormal pictures came off, exactly as they did with the usual video recordings. Initially it were only shadows that slurred over; later Schreiber used stronger spots which produced mirrored light by oscillation fields - till the shapes and faces became clearly recognizable. The manifestations composed of the individual light spots and became recognizable for everybody.
On one occasion, Klaus Schreiber described these “oscillation fields” as follows:
“Oscillation fields are the pre-requisite for transmissions from the Beyond to our world on our time-bound level. Without these, the entities in the Beyond would not be able to impart themselves to us. Certainly, they are always present and try to find contact with us, but only when we open ourselves in love and long for contact, the vibration fields can unite on the spiritual level, and the Beyond is able to communicate with this world.”
By this last described recording technique Klaus Schreiber could prove that his pictures from the Beyond had not come off through any technical manipulations. Anyway, he had no notion of any video technique. Would it have been otherwise, probably the images would never have become reality, because every technically versed person would have pooh-poohed the indications received from the Beyond as a nonsense. Same as with the tape-recorded voices, we, also with the video recordings, have to do with a phenomenon impossible to explain from the technical viewpoint.
For all technical possibilities of transcommunication therefore applies that technique alone is not decisive. A technical arrangement allowing to easily and immediately establish contacts with the Beyond does not exist. Of course, there are men who succeed rather fast in communicating with the Beyond, but there are also persons who succeed in it only after a very long time, and there are others who are never successful in it.
Klaus Schreiber, again and again, adverted to “love”, and we can proceed from love contributing in fact essentially to our being successful in making contact with the Beyond. Even beyond their death, Klaus Schreiber was most intimately associated with all his deceased family members, and it was mainly his daughter who gave him the necessary help from the other side. On January 7th, 1988, Klaus Schreiber was callen away from this world. In his obituary we could read:
There is no death – there is only a passing to an other level of existence. – I am with you.
(Es gibt keinen Tod – es gibt nur ein Hinuebergehen in eine andere Daseinsebene. – Ich bin bei Euch.)
The last sentence found confirmation even immediately after his passing. Already during his burial he got in touch with an acquainted via her magnetic tape. From that moment on we could hear from many experimenters that they had contacts with Klaus Schreiber. In his humorous, unmistakable way he got in touch with his friends and relatives.
Video recordings of Martin Wenzel
During several years, Dipl. Ing. Martin Wenzel cooperated closely with Klaus Schreiber. But he also did research work off his own bat, and he engaged in video recordings by himself. Martin Wenzel, too, achieved considerable success with his experiments.
In applying his method he works according to the basic principle of Klaus Schreiber, though with a little change. The camera is connected via a video recorder as described and as illustrated in Ill. 1. Immediately at the side of the screen a strip of “basic structure” of approx. 20 cm width is arranged on a support (pls. see Ill. 3: Procedure according to Wenzel).
|
|
This strip shall overlap the screen a little bit. As material may serve a piece of wallpaper of fine structure, a piece of fine-mingled cloth, coarse-grain abrasive paper, or a photostat copy of semilog/coordinate paper. The important is that the material features sufficient contrast, is to say, is composed of very dark and very bright elements. The camera is directed to this basic structure and adjusted to high definition. It is recommended to illuminate exactly this basic structure. A still projecter fed with one empty diapositive frame suits excellently, because it furnishes an exactly delimited field of light.
Now the camera is swung to the screen so that it “captures” the basic structure and part of the screen. When selecting the distance between camera and screen and the focus of the zoom objective correctly, several strips of the basic structure, which the camera has recorded again and again from the screen, will be seen.
The adjustment of camera, amplifier and televisor is done as described for Schreiber’s recording method. In the third strip, now feebly visible shapes may appear which by and by come out clearer and clearer. They often appear in a great number, frequently even in, or above, one another.
However, up to this point, a lot of patience and the assistance of entities in the Beyond are needed. Now Martin Wenzel begins recording. Thereafter the tape is carefully analysed in slow motion. The single pictures are often clear and of different contents. Parts of pictures that are of particular interest are then selectively improved by him according to the first procedure (Ill. 2). Sometimes he finds on a video tape an individual drop-in picture filling the full screen size.
|
You are visiting our website: W |
rld ITC.org To reach our homepage