Musica Trascendentale. Rome: Mediterranean Editions. Letteratura d'OUretomba. Rome: II Torchio. La Crisi della Morte.
I fatti di Hydesville. Luce e Ombra, , La psiche domina la materia. Carteggio E. De Boni Bruers, A. Bozzano: La crisi della morte nelle descrizioni dei defunti comunicanti. Caratelli, G.
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De Martino e Bozzano. Luce e Ombra, 98, Clauzure, G. Collins, A. Light, 59, Cugnaschi, S. De Boni, G. Vita ed opera di Ernesto Bozzano nel cinquantenario della sua altivita metapsichica. Preface to Bozzano Preface to Bozzano a. Preface to E. Bozzano a. Una visita a Carl Gustav Jung. Scelta di brani della rivista Luce e Ombra Biondi andS. Ravaldini, Rome: GSE, , pp. De Boni.
Recensione a E. Sludi e Materiali di Storia delle Religion i. Review of La Mediumnite Polyglotle Xenoglossie. Revue Metapsychique. Replique de M. Di Porto, B. In Dizionario Biografico degli llaliani. Rome: Treccani, Volume 13, pp. Doyle, A. Reprinted by Psypioneer. Dumas A. La Science de I'Ame. Paris: Dervy-Livres. Ferraro, A. Le Sedule di Mdlesimo. Oardoio di Trento: Luigi Reverdito. Fodor, N.
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Encyclopedia of Psychic Science. London: Arthurs Press Limited. Gasperini, L. Hack, G. Modern Psychic Mysteries: Millesimo Castle. Italy London: Rider.
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Ernesto Bozzano e il problema della sopravvivenza. La vitae I'Oopera. Verona: Luce e Ombra Editors. Inardi, M.. Parapsicologia Realla Contestata. Milan: SugarCo. Inglis, B. Natural and Supernatural. A History of the Paranormal from Earliest Times to Bridport, UK: Unity Press. Storia del paranormale. Rome: Astrolabio, ] Lambert, R.
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Published by Librairie Es Sciences, Paris Illustrated by illustrated illustrator. Cover Slightly Worn - Text in French; pages. Seller Inventory Condition: Bon. Kluski and touch Mme. Geley, who was facing me…. Immediately after the contact felt by Mme. Geley the hand disappeared.
Geley gives a number of arguments against trickery for these phenomena. Insofar as, Kluski was alone there was never any confederate in the sessions , the only possibility would be for the medium to have liberated a hand to create the effects. Apart from the fact that there were continuous checks of both his hands, and that the medium was totally motionless throughout the sessions, at least two arguments militate against this hypothesis:.
The touches were also felt by two individuals at once, including the sitters most distant from Kluski. The visual phenomena did not amount to simple light projections, but involved complex constructions which visually evolved over time; furthermore, there was good agreement between sitters in terms of the details as to what was seen, and these corresponded in time with other sensory phenomena, such as touches.
This renders unlikely any hypothesis based on trance-induced hallucinations. In order to obtain a PPO, they opted for a method initially developed in by William Denton, an American geologist Aksakof, , who proposed using a bowl filled with hot wax to obtain instant moulds of purported materializations.
A second bowl with cold water was used to quickly solidify the wax moulds, and finally, plaster of Paris was poured into the wax moulds to create a more sturdy object. The system used at the IMI involved a circular tank 30 centimeters in diameter, containing several kilograms of wax that floated on electrically heated water, thus producing a cm deep layer of liquid wax. The system was placed on a table, in the center of the circle formed by the sitters, 60 centimeters in front of the medium. Rather than using a second bowl for cooling, the IMI researchers preferred to allow the wax moulds to rigidify on their own, this being, as we shall see, a precaution against fraud.
Following the sessions, the investigators would pour plaster into the fragile wax moulds, to obtain a more permanent object; once the plaster hardened, they would simply plunge the ensemble into boiling water and strip away the wax layer. While the olfactory, visual and tactile phenomena came soon after sessions began, it generally took 15 to 20 minutes before any sign appeared that a mould was in the process of forming.
It would then be heard dipping in the container again, and finally come out and deposit itself next to them. Once begun, this whole process would evolve quite rapidly — within 1 to 2 minutes.
Splashing sounds were heard about twenty minutes into the session, and one to two minutes later two warm paraffin gloves were deposited next to the controllers. An additional control was the weighing of all substance. Prior to the experiment, the paraffin was 3. The two moulds weighed 50 grams, and there was considerable wax scattered near the medium around 15 grams , on his clothing, and on the floor 3.
Insofar as the sum of these weights correspond very closely to the initial weight, this further establishes that the wax gloves were produced during the session. Finally, it should be mentioned that the wax moulds were less than a millimeter thick thinner than a sheet of paper.
Following recommendations of psychical researcher and illusionist Robert Toquet, Geley added a second substance to the paraffin mix: cholesterol. This was done immediately prior to the beginning of the session, in total secrecy. Cholesterol is completely colorless, but when it interacts with sulfuric acid it produces a characteristic reddish color which then turns brown ; by contrast, sulfuric acid added to plain wax yields no color changes.
Following a rather unsuccessful first period and pause, the session resumed, with controllers regularly checking and declaring their hold on Kluski. The first sounds of spashing were heard, and paraffin was scattered on Richet, Count Potocki and Geley. The lights were quickly turned up and two moulds were found on the table, that of a child-sized foot Figure 2 , and that of a lower part of an adult face.
These had the same bluish hue as the paraffin mix. Additionally, immediately following the session, Geley took samples from the foot mould, and added the sulfuric acid: the characteristic color shift was positive. All in all, 9 moulds were obtained over the course of 11 sessions. These included seven child-sized hand moulds, one child-sized foot mould and one adult-sized mould of a chin and mouth. Interestingly enough, although the hand moulds were small, they displayed the markings typical of adult living hands. Also important, there were some variations in size: the 3rd one, as Geley notes, is more than a centimeter longer than the 6th one.
Animisme Et Spiritisme : Aleksandr Aksakov :
Kluski stated that he consistently obtains smaller moulds when he is tired or ill. In the later Warsaw sessions, attended by Dr. Geley, Kluski was much more vigorous and healthy, and the moulds obtained were indeed of normal adult size. Geley participated in a number of sessions in Warsaw, the next year. I will refer to these only briefly, for the sake of completeness. Nevertheless, Kluski was again highly cooperative.
These sessions were highly successful, and showed a few striking elements that deserve note. As mentioned already, most of the hand-moulds obtained were of normal adult size, and showed extremely fine detail for example, see Figure 5. Some of the wax gloves were even thinner than those at the Institute, i. Several of the Warsaw moulds involved two interlocked hands, rather than a single hand Figure 6 ; this, as we shall see, is significant in view of a fraud hypothesis. Finally, in one session the researchers actually saw the production of the wax moulds. In other words, they witnessed a continuity between the visual apparitions of luminous hands and the creation of the moulds.
As Geley describes it:. We had the great pleasure of seeing the hands dipping into the paraffin. They were luminous, bearing points of light at the finger-tips.
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They passed slowly before our eyes, dipped into the wax, moved in it for a few seconds, came out, still luminous, and deposited the glove against the hand of one of us. Geley, , p. There are two conceivable means for fraudulently producing the wax gloves. Either they were made by sleight of hand during the sessions, or they were produced ahead of time and smuggled into the IMI laboratory. I will now examine these two hypotheses.
It is quite obvious that Kluski could not fraudulently produce the moulds with his own hands during session. Leaving aside the accentuated vigilance of the controllers, and the fact that he remained totally immobile, the moulds obtained were visibly distinct from his own in every way, starting with the size : as mentioned, the wax moulds were child-sized.