Guy walks into an elevator in 1969 and finds a record from the future, the year 2058, a message recorded by a cyborg with bad circuitry. The record was 8 1/2" in diameter and played at 20rpm. My question from 2013 is what kind of bifurcated simultaneous decay and evolution must we portend to in order to located this future sphere, where we leave our bodies for a technological metascape but continue to press vinyl records in the physical duosphere, shed our memories of iPhone and Facebook, and all talk in the drivel in a late 1960s underground newspaper?
I'd rather just watch girls kissing.
11 comments:
This is possibly an individual from an alternate time line. Just because he's from the future doesn't mean he's from the future for our timeline. My guess is that this guy is an ancestor of the race we know as the Grey's. He's probably in a vast self-contained facility deep in the ground do to a possible nuclear war that has devastated the biosphere. That's why he doesn't seem to have any close relation to animals nor why he doesn't readily know how long a year is.
Or it's art.
Or it's art....Though he did get the concept of matter teleportation correct. Which even the basic's of weren't really understood until the late 1990's. So there is that. Maybe its was just a good guess.
The obvious response is, "well what about Star Trek"? They had teleportation :)
But I have one better. No one has had a New York accent like that since 1989. They were all chased out to Florida or California to make way for Eastern European and African immigrants. So where in the future does some dude get a New York accent like that?
He's from a parallel time line that split off from our's probably somewhere around the mid to late 1950's, so your line of speculation, though solid for our time line, would not apply. He sent the record back through time in the Solex 2 device to the target year of 1953 A.D., but it seems maybe he got it a bit wrong and it settled in 1969 instead. It's an artifact of his time line that shows us what would have been if the superpowers had actually pushed the button and blew it all up. He's a part of the remnant of the US way of life from a time that was made manifest before the 1960's that then progressed from there. And he himself could be from a time not to far away from our own.
I agree that Star Trek could have been an influence but I don't recall Scotty ever talking about matter transport being as simple a time frequency transposition. Though in the modern theory of teleportation of single particles it's key to getting it to save the information of the matter that's being teleported. So it is very important if you want it to work on a macroscopic scale.
This is a tremendous piece of audio with at least 150 separate background noises playing on at least 4 layers of sound overlap. Not to mention the jargon and phrases that he uses not to mention the added novelty of him moving away from the microphone to answer calls that he receives. It's either a very well developed piece of audio work or it's the real deal. Either way I feel comfortable saying it could be real.
The Grateful Dead and Stockhausen used hundreds of layers and colored silence in 1969.
Ok, here's where it could get interesting. The original record was reported to be at 20rpm. By the early 50s both 45rpm and 33rpm were available. But there were other speeds, both experimental and to a small degree on the market. Was there there ever a standardized 20rpm speed? I don't know. There were lots of formats. Some were speed A, speed B. And I do this stuff for a living. There were even experimental 78rpm records that have been found to have video on them.
that jargon is all over every issue of Other One, LA Free Press and Oracle from that period. That's my reference to underground newspapers. I should know. I was part of selling one of the largest collections ever uncovered.
The 20rpm speed has never been a standard, but it is possible to make custom records at speeds that slow. It gives a bit more fidelity (if the record has a big enough diameter) and if you have to have a turn table that would run at that speed. The guy who found the record "Clark Gesner" was a composer and would have probably had such equipment especially since he was an avid vinyl record collector. He even stated that he transferred the recording from the 20rpm 8'1/2 inch diameter record to a 33'1/3rpm 10 inch record. As well Gesner reports that the record he found had no hole in it. That would never be standard on any record ever manufactured. It would have to be a complete custom record with the recording cut strait to the disk.
It's not out of the realms of possibility that he made the recording himself. However he was mostly known for writing music for things like Charlie Brown, Sesame Street, and the Electric Company. So I don't know why he would make a sci-fi themed piece such as this especially with the bi-sexual nature of the the main speaker.
And as far as the jargon with the LA Free Press and other papers of the like at that time, you'll find allot of beatnik and hipster verbiage but nothing like what this guy was using. His speaking stile is all abbreviations and very technical. He uses a heavy amount of techno-speak even when he's speaking casually. I've read a great deal of the free press from the 60's and I've never seen any speaking style that even comes close to what he was using. But then again I think it will be a better thing to judge when side 2 of the recording is put out on the internet in it's entirety.
Apparently the only copy of the recording that's not in private hands is in the media library at Princeton University. So if someone is so inclined they could possibly find it and record the whole message and then it could be in the public domain for complete scrutiny.
I'm going to do my homework on 20rpm. There were many proprietary speeds prior to around 1930 before even the first initial 33 1/3 releases. The Sesame Street and Electric Company connection is a big lean toward art. Trey Anastasio's mom worked on Sesame Street. They were all HEADS. This would have been something to do an a Sunday afternoon after eating mushrooms. In fact now that you mention the CTW programs the voice sounds way more familiar. I listened to it again, and didn't pick up anything about teleportation. Have you had access to more than the excerpt? Has anyone looked for video on the original record? The first video recordings to disc were done by John Logie Baird between 1927 and 1933 on 78rpm acetates. It would seem that if teleportation were possible, putting some video on the record would be a cinch.
Sound cloud has the entire first side of the record up. It's under, "Found on the elevator." There's allot more there. And the excerpt that you have is only a piece of the second side. The guy who put out the first side on sound cloud said that he might put out the entire second side as well, if he can find his copy of it.
There maybe a video recording on the original record that no one has noticed, but that's total speculation. If so, you just might be on to something that might be able to authenticate the record.
If someone actually has the purported original record then that
would certainly be of interest to find out. And also what material the disk is made. If this object is in the right hands, then I think a public study of the item is in order, if only to see if it's what it seems to be.
If Baird could do it in the late 20s it wouldn't be impossible to do accomplish video to disc in a late 60s studio with acetate recording equipment. There was a test Phonovision disc sold in department stores in London in the early thirties heralding the coming home recording equipment Baird was working on, but the equipment itself was in reality no where near production. Though a lot of the video discs were sold. I've been trying to get you through FB. I sent you a sound recording of what one of Baird's video discs sounded like and the sounds are similar to some on this recording. What is more similar is the sound of video on audio cassette that I found a YouTube video demonstrating. The guy takes video recorded to cassette audio tape and plays it on a computer screen. Muddy 32 line like Bairds. The sound of that audio is distinctly similar to the background noises on this record. If video can be read from an audio cassette then why could it not be read from this recording? I'll post the YouTube video here soon.
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