EVP Newsletter - No 15 - 1979

Magazine Overview

Title: EVP NEWS
Issue: No 15
Date: May 1979
Type: Special Issue

This issue of EVP NEWS is dedicated to the work of Friedrich Jurgenson, a researcher in the Electronic Voice Phenomenon (EVP). The editor, Alan Cleaver, apologizes for the printing quality due to the simultaneous production of multiple newsletters and his college commitments.

Subscription Information

Subscriptions for the EVP Newsletter are due. The price remains unchanged at £1.20 per annum for domestic subscribers. For international subscribers, the cost is £4.50 per annum via airmail, or surface mail which may take up to two months. Subscription payments should be sent to Alan Cleaver at two different addresses depending on whether the subscriber is domestic or abroad.

Printing Quality

Alan Cleaver apologizes for the lower-than-usual printing quality, including printing on both sides of the paper. This was a measure to reduce postage costs due to sending out three newsletters concurrently. He expects improvements after July when his college year concludes.

Sixteen Years of Voice Research by Friedrich Jurgenson (Part 1)

This section is a reprint from the EVP Newsletter, translated from German by Hans J Heckmann, with special thanks to Friedrich Jurgenson and the German magazine Esotera. It introduces Friedrich Jurgenson as a key figure in the attempt to build a communication bridge to the postmortal existence, based on his 16 years of private research.

The Significance of Voice Contact

Jurgenson recounts his first voice contact recorded on tape in the summer of 1959. He describes it as the most significant and important event of the century, offering a means to objectively address the enigma of death and potentially leading to a "psycho-hygienic" clarification and a transformation of consciousness, deeply affecting materialism.

Distinguishing EVP from Mediumship

Jurgenson acknowledges that his report may face resistance from those who rely on mediums or traditional writings. He argues that such second-hand information is subjective, time-bound, and influenced by religious ideologies. He emphasizes the difficulty in distinguishing genuine messages from those influenced by the medium's subconscious, and highlights the lack of understanding regarding the subconscious, reality, structure, and substance, as well as our own inner selves.

The Audioscope and Time Perception

He draws parallels between the microscope, telescope, and tape recorder. While the microscope reveals the present, the telescope shows the past. The audioscope (tape recorder), however, breaks the three-dimensional concept of time, as voices from another dimension can perceive past, present, and future events. This precognition is presented as proof that time ceases to exist in another dimension.

Early Experiments and the Radio Contact

Jurgenson details his early experiments, dating back to 1957 in Stockholm, predating his widely known 1959 Nysund contact. He describes a peculiar incident during a recording session for a film about Dr. Axel Munthes. The recording volume inexplicably dropped, leading him to investigate the tape recorder. The incident was not a technical mishap but a planned action.

He later recounts an experience where, while talking to his "invisible friends" over the microphone, the radio was turned on, and a joyful woman's voice (Lena) spoke, indicating that he should listen to the radio for more messages. Subsequently, during another recording, the volume dropped, and the voice of an English lecturer, speaking perfect German with a changed timbre, repeated phrases about "training is Molnbo" until something came clearly. Jurgenson interprets these events as a demonstration of volume suppression and voice modulation by his "invisible friends" to achieve a blend of speech modulation, a technique he states is still used.

Transition to Radio Contact

Jurgenson explains that he more or less stumbled into radio contact because the microphone method had limitations. He learned that Lena had been waiting for over a year to convey her message. This marked a basic change in his life, leading him to move to the country and dedicate himself to "building of bridges" to the other dimension.

The "Building of Bridges" and Public Image

After two years of slow progress, Jurgenson became familiar with radio contact techniques. He describes this period as one of intense enthusiasm and concentration, feeling as though he lived in an eternal spring morning, expanding his three-dimensional world. For four years, he worked privately, only revealing his contacts after accumulating significant proof. He held an international press conference in Nysund, which lasted eight hours.

Overcoming Resistance and Scientific Acceptance

Jurgenson was aware of the challenge in convincing experts and scientists due to rigid dogmas. He believed that presenting clear facts was the only way to gain ground. The authenticity of the phenomenon was supported by others making similar recordings and by public testimonies from well-known individuals. His second press conference in 1964 was a success. In his book "Sprechfunk mit Verstorbenen," he detailed these conferences, emphasizing that electronic experts and parapsychologists confirmed that fraud was impossible. However, he faced resistance from the public's blind belief in authority figures, such as professors, who might lack direct experience in the field.

Cultural Projects and Public Image Enhancement

Jurgenson explains that his lack of an academic title and his artistic background (painter, singer) led to his activities being viewed with suspicion. To improve his public image and provide a better background for his "bridge building" efforts, he initiated a series of cultural projects. His primary motive was the respectability of his project, not arrogance.

Work on Pompeii

He began by focusing on Pompeii, launching a press campaign against its deterioration. His efforts led to the allocation of funds by the Italian authorities. He then produced three documentary films about Pompeii for Swedish television and was granted permission to excavate his own "Swedish house" in Pompeii, a privilege rarely granted to foreigners.

Documentaries and Vatican Involvement

Jurgenson's work extended to other significant projects, including the excavation and filming of Lukanian graves in Paestum, where magnificent vases were discovered. He also produced a film about the controversial grave and bones of the Apostle Peter, a project that had been competed for by 16 famous TV networks. This film was made with the participation of archaeologists, anthropologists, and Pope Paul VI himself. He received the "commondatore di san gregorio magno" order from the Vatican for this work.

He also filmed the "miraculous deedings of St Gennarios" in Naples, winning first prize at the Cannes Film Festival in 1970. He painted portraits of the Pope and continued to receive visitors interested in voice research. His last television film, "everybody wants to see the Pope," was about the Pope's activities, and he notes that the Pope, who refuses to be filmed privately, granted permission for this film through mysterious intervention.

Future Plans

Exhausted but having accomplished his goals, Jurgenson succeeded in creating interest in the voice phenomenon within the Vatican. He then began planning a new, significant project: the establishment of an international voice research center somewhere along the Mediterranean.

Recurring Themes and Editorial Stance

The recurring themes in this issue are the exploration of the Electronic Voice Phenomenon (EVP), the possibility of communication with the postmortal existence, and the challenges of gaining scientific and public acceptance for such research. The editorial stance, as presented by Alan Cleaver, is supportive of Jurgenson's work, dedicating a special issue to it and apologizing for any production shortcomings. The overall tone is one of serious investigation into phenomena that challenge conventional understanding of life, death, and consciousness.