Alien Communications Research Project


MANIFESTO
- first published as an EXPOSE` in EAR magazine Jan/Feb 1979, San Francisco. Included as part of the installation "Eight Emperor Penguins Sang a Dirge" by DAVID SIMONS at Art Metropole gallery, Toronto, 1992.

    Consider each star and planet in the heavens to be a conscious living being. By its very nature, the light transmitted by a celestial body also contains its store of information. Atmosphere can be determined by spectral analysis, toposphere or terrain by telescope or satellite, and consciousness can be received by one’s attunement to the proper telepathic wavelength. There is a parallel between the movement of awareness, and the tuning of a radio receiver to pick up the desired frequency vibration.

   FOCUS and DISCRIMINATION develop thereby. When the light energy information is transformed into sound, as in [the musical composition] THE NIGHT SKY IN OCTOBER , the inherent mystery and awesome harmony of the Spheres is undeniably felt - provided the piece is played correctly! [composed by DS in 1973, it is a circular star chart which revolves by hand on center axis, with a stationary treble and bass clef staff lined transparency superimposed over it - the stars become specific notes, their relative distances are musical intervals]

    This moved me to discover and develop a new theory of a NEW MUSIC: the reciprocal communication/sympathetic vibration feedback system between earth and extraterrestrial intelligences. The Alien Communications Research Project (A.C.R.P.) was founded by myself in 1974 and the resultant music produced becomes part of the Intergalactic Cultural Exchange Program. [According to the 1974 manifesto, "Just as Bartok, Stravinsky and Mahler collected folk songs from their countries and used them in their symphonies, I am collecting folk songs from outer space for the Alien Communications Research Project."]

    The basic theory is this: if one communicates in a language using the forms and symbols of another culture (planet, [species], dimension), with proper intent - not feeding fear but sending Love and evolutionary goals - the Others are bound to respond.

    One can either imagine or accept the fact that, to varying degrees, intelligent beings exist in other dimensions, composed of increasingly more proportion of spirit to matter - and therefore invisible to physical perception. These beings could be Souls without corporeal form, or souls also able to project consciousness outside of their body, organisms of group mind life force (read STARMAKER by Olaf Stapleton), or astral entities playing upon our fantasy projections. There are Devas and Demons - one must use quite a bit of discretion in these realms; subtle deception is very commonplace since this is still MAYA or illusion.

    That these beings do respond and are attracted to music even to the extent of feeding off of the vibrational energy, is exemplified by certain Tibetan rituals. They [the monks] ring their bells, whose tone is so exceptional that it is called "the sound that cuts through all sound" to feed ghosts or wandering spirits whose only source of food is this sound.

    The ancient spiritual teachings tell us about the NADA, or unstruck sound, which permeates and echos throughout the entire cosmos, nourishing all who will surrender to it. Is this what Pythagoras called the MUSIC OF THE SPHERES? It invites each of us to personally explore its depth. These sounds are a moving path which eventually can lead us to the heart of God. [note 2004: or to drive you insane and make you kill your neighbors!]

   I left Alien Communications after a few years for this very reason: to probe deeper.

    Along the way, very interesting phenomena! For instance, one day I was talking to a composer about how we should write music for "after the end of the world". This was just after I’d written the A.C.R.P. manifesto in 1974. He told me of once living with a visual artist in the midwest who was frequently visited by Whole Light Beings. The one who was visited could see and converse with them, but onlookers could not. These space beings were from the planet LISHTA , and taught him their language and the history and evolution of their race. He then wrote the BOOK OF LISHTA , which traces the evolution of their symbology as well. Since I was extremely interested I received a copy of the book. After studying it for six months I finally found the key which unlocked the mysteries of the book. It was after reading THE HOUNDS OF TINDALOS by Frank Belknap Long.

Life grows in curves and is eaten by angles!

    I immediately began to translate the Outer Space language into a sound generating score. Each symbol became a certain inprovisatory process. The night before the world premier of LISHTA [at Cal Arts] , I received a previously undecifered tape of "he who was visited". it turned out to be the Lishtans speaking English through him!

[see LISHTAN STATEMENT]

 

- David Simons 1979