#Alternative to ghostlab series#

By imitating natural processes, we can have power over them. Human existence is something between the inner and the outer path of Nature. Paradoxically, this is why our technologies become more and more immaterial.Īs in magical practice, alchemic philosophy and even art, the model was and is in Nature. In a way it is as if Consciousness, risking a more dense prison in matter, tries to come back to it's origin through the process that we have initialized with our own technologies. Web browsing should seem very familiar to a shaman from Gabon or the Amazon who has explored the realms of thought and might and beyond.īut this materialization process is really disturbing. This is why the Internet and virtual reality, for example, are so close to the idea of the traditional astral layers or inner worlds. Now, in a material process, we only repeat this phenomenon through the emergence of our technologies of Information and Communication. We may well be the High-Tec biological receptacles of Consciousness, in its own extra-territorialisation. Living organisms are incredibly more sophisticated than our own creations. Nowadays, fascinated by the growth of our technologies, we have a false vision of what our technological items really are. But this fact doesn't mean that commonly known technologies are not a part of a huge magical process. The only difference between magic and technology is that magic is a technology linked with the Cosmos, where known technology is a comparable practice but without this essential link. I recently came to review my old intuitions about ancient paradigms being more closely tied with the nature of magic. There at the edges, it starts to become interesting. This informative process seems curiously to be 'non local', as if outside of the considerations we have on space and time. Information can be thought of as the third compound of reality with Matter and Energy. I've realized that the most important thing is not the strength of a signal but the information modulated and carried within it. The electromagnetic spectrum has kept my focus. You have been exploring a wide range of subjects over the years, which areas are still under active investigation? Later in 2006, I met Ewen Chardronnet, and we decided with the Bureau d'Etudes, to name our collective the S.I.C.

#Alternative to ghostlab series#

Following this, we collaborated with Bureau d'Etudes, initiating a series of discussions in methodic criticism of our modern society. Gabin, at the time, was the editor of the Prism Escape freezine (2002-2004), and was passionate about ufology, and alternative music.

The collaboration started in Paris, with Gabin Noir and was more focused on live experimental music. The initial target of the S.I.C was to explore the effects of electromagnetic pollution on humans and life in general. You extended your work to include collaborations with others under the name Spectral Investigations Collective (S.I.C), how did the work expand? No traditional ghosts were tracked down, but an incredible world of radiation, rhythms and pulsations were revealed to me. I started to make recordings, invisible sculptures and even music with these immaterial sources. At this point, I remember that I was fascinated with the complexity and omnipresence of electromagnetic fields, both natural and artificial. For this I acquired some useful devices which helped me to perceive the invisible side of our world. The focus of this project was originally to explore the electromagnetic landscape and it's interaction with consciousness and cognitive processes. The events lead me to try to understand these phenomenon in a rational way. During 2003 I had a series of paranormal experiences, in an old Cathar castle in France. This might be a part of the hidden soul of Romania that sleeps inside me. I have always been attracted by the paranormal myths and mysteries of our world, like another world just beyond our own.

You started Ghostlab in 2003, how did that come about? Looking back, I'm conscious that I was surely considered an extraterrestrial at the school. There are some strange links between Painting, magic and ritual. But I have fond memories there, and good contact with everyone, especially with the painting teachers. My interests were in alchemic philosophy, shamanism and magic. I remember that I was a bit of an anomaly at school. All expatriates have a sense of this.Īfter my general studies I became more interested in art, so I began art studies in the Villa Arson school in Nice. I think this 'uprooting' is capital in the choices I made later in my studies and my life. When I was 8 years old, my mother, brother and I left for France.

Cosmin, can you tell us a little bit about your background?