Evidence for Information Transfer Mechanisms in Water Vapour Hugh Fairman

Outline Summary. This article is to submit evidence to support the hypothesis that water is capable of holding and transmitting information. To achieve this aim a series of images is presented here which has been taken by digital camera using certain techniques as described in the text. The author contends that both the presence of discernible artefact form and the range of colours captured render the statistical likelihood of such images being attributable to random chance alone, or else simply an effect of pareidolia, as being so remote as to be effectively dismissed. Experimental aterials and ethod .

Essentially these images are taken using steam vapour as the background information capture facilitating medium.

Setting. !ny secluded small room can be used. !ll extraneous light sources must be excluded, and indeed it seems that success is more likely if images are in fact taken after dark, in order to reduce the presence of stray photons even further. "amera. !ny digital camera of #$ pix resolution or greater is adequate, although success has been achieved at % pix resolution. ! photo&flash facility should be incorporated into the camera 'usually a standard feature(. There is no data available as to whether positioning the flash unit at a site that is at an angle from the line of the camera lens is beneficial or deleterious to image capture. !ll images shown here were taken with absolutely standard digital cameras. The ma)ority of the pictures selected here were captured with a Sony *S"&+,#$, and the outdoor ones with a -anasonic .umix % pix. Steam is created by simply boiling fresh water in any suitable vessel be it a saucepan or a kettle. ! reasonable quantity of boiling water will give off vapour against a cooler background for quite some time when removed from any heat source. Since it appears to be most effective when the vapour cloud is not over&dense, the hot water is better transferred to a suitable container for use. The latter is best made of ceramic material, although aluminium may be used. /t seems that ferrous metals are better

avoided, since success becomes less likely, possibly a consequence of magnetic field interference effects. 0ackdrop. ! 1ft '# ( square flat surface is used as the background. /t is important that it has a matt&black light absorbent quality. !ny form of back reflection of light, such as a shiny black paint leads to a double& exposure effect and is less effective and creates image 2wipe&out3. The best surface seems to be a tightly stretched piece of closely woven matt& black cloth, as a single piece attached to the flat surface. !void placing any )oins within the camera field. The camera should be mounted stationary facing the backdrop, and the 'ceramic( bowl of steaming water placed so that the vapour rises between the lens and background. The containing bowl itself should be invisible to the camera field. -ictures are taken in a series of #$ to 1$ at a time in sequence. Their analysis will come later, and little will be seen at the time. Optional additions. 4nusually it has been found that the addition of fresh vegetables such as potatoes, or even eggs seems to increase success rates. The simple addition of inorganic ions in the form of sea salt has no discernible beneficial effects. /t seems that since in effect the additions are still alive that this fact in itself somehow influences matters. ental !ttitude. The great ma)ority of these images were taken by a life& long psychic. Since the likelihood of a successful outcome seems to have a relationship to the 2 ind3 of the experimenter, it is best to at least suspend dis&belief. Even this photographer took over 5 months of repeated effort before discernible images started to emerge. The interested lay person is perfectly capable of setting up such a photo& booth.

Photographic Evidence.

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76 The purpose of the #8 images selected above is to demonstrate both form and colours. !ny meanings or derivations will not be covered here, although in fact some of the image references are known. /mage / This shows the presence of straight edges, and differing colours. +hilst it might be reasonable to anticipate the colours of the rainbow spectrum to occur in the presence of water vapour, brown is not a colour of the spectrum. /mage // !n indubitable artefact in the form of the letter 2*3 can be seen over on the 9 hand edge of the frame. There are other artefact hoop shapes on the . side and along the lower half of the image, which are attached to an equally metallic looking straight bar. /mage /// ! complete strait edged triangle of Euclidian accuracy may be identified in the centre. The upper left corner has been deliberately 2broken3 and turned inwards. /mage /6 /n the . bottom corner can be seen the perfect outline of a small building. /t has a convincing form, and is a small chapel. /mage 6 The main centre image is that of a bottle. /t has a white top and can be seen to possess a label. The latter has a secondary image within it. :ote that it is not artificially symmetrical, as a real specimen might show. /t looks more alike to a drawn image in many ways. /mage 6/ !nother bottle fills the centre frame. /t is artefact and looks like a wine or spirits container. /mage 6// ! dark&blue boat leaves harbour. The straight edge of its bow is toward the ., angling from top to lower edge. The curve of its transom

runs parallel to the upper edge, and ends in a white cabin in the upper 9 corner. ! well depicted but rather faint red marker buoy is to be seen close to the . edge of the frame. Thus it is possible to say that this is departure, and not arrival, since such buoys are channel markers, and should be kept to port when the ship enters harbour. 'See note #( /mage 6/// The circular wheel of the rear end of an open sports car should be easily identifiable. /n fact this is probably a Triumph T91 sports model '4; marque late #58$3s(. /mage /7 ! single deep sea fan worm. Small fish swim around it.

/mage 7 This shows a deep sea giant amphipod. This is a crustacean similar to ;rill or shrimp which are species that most are more familiar with. /mage 7/ ! close up view of two birds.

/mage 7// This shows a large brown insect in a vertical position in the centre frame. /mages 7///&76 This trio should be looked at as whole. Taken by another operator 'with no psychic talents( in an outdoor setting it shows features of interest. 7/// has steam only, with no added form, which is entirely to be expected. 7/6 taken a few moments later shows a face above the plastic blue 2dog bone3. 76 is an enlargement of the relevant portion of the whole image on 7/6. There is some slight colouration, a faint reddish tint, but it is not as impressive as the other examples previously shown. The face does show quite reasonably, but few would accept this image alone as evidence. <owever it should be borne in mind that this operator has no talent, and has never taken the trouble to practice this technique assiduously. !ny success in such circumstances therefore is to be taken note of, since it suggests that this ability to catch such images may be an attribute that any human mind may strive for. /t is not unique it would seem. /t is evidence for duplication of effect, if not technique. The presence of the background features in this particular set of images enables the viewer to see these processes as they occur in action without any editing out. /t is submitted that these chosen images show indubitable evidence of both artefact form and natural forms. /n addition the colours revealed are indeed those that one might expect to find in everyday life scenarios, and not )ust the reflected=refracted rainbow spectrum that might occur by chance when illuminating water droplets. The rectilinear forms to be found in /mages /&/6 must be 2new added information3 and are highly unlikely to be a chance occurrence. /mage 6// in fact has enough 2new

information3 to enable the viewer to make a completely secondary deduction, relating to the vessel3s departure as opposed to arrival. /t is possible to determine that this depicts a coastal related scene since red channel marking buoys are not found in deeper waters. "lear defined images of lower animal life forms have been selected here, since there is far less probability of sub)ecting these more unusual creatures to any mental pareidolic kind of response. :ote how they stand out from any background as individual images on their own. This short report is written simply to alert others of similar interest what this technique can achieve. <ow such images might be explained via the recognised processes of physics, has not been addressed here. /t seems entirely reasonable to assert that these images contain real information, and that also what may be termed as 2 ind3 or mentally based processes must be involved. Other operators notably <ans ;ennis and .eon Stam have also had success in recording images using liquid water 'ref #,,(. !s a very first step however, it must be more generally accepted that these images are real in themselves, and not )ust to be attributed to our pareidolia dominated mental impressions. The complete library now extends to some %$$$ images 'called para&pics(. :ote '#( >-ass the port to the left hand side? is the mnemonic for those unfamiliar with sea&going navigation marks. +hen entering harbour a vessel will always keep the red marker buoys to the port 'left( side, and green to starboard 'right(. The converse applies upon departure of course. Since the vessel in image 6// has the red buoy depicted on its starboard side 'its right( it is going out to sea. 9eferences
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