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Ectoplasm

This was a wee bit creepy:

"According to Russell, the man described one of Margery’s manifestations as follows: “Margery produced an ectoplasmic hand and we were asked to feel it. As soon as I touched it I knew it was the hand of a dead person. It was small, either a child’s or a woman’s, but dead. I understood then. Dr. Crandon was a surgeon, and he could sneak such things out of the hospital”
(End)

:oops:
 
I was looking into the history of infrared photography and came across the following article, which seems pertinent to this thread.

Science of the supernatural
By Rebecca Northfield

Published Monday, September 12, 2016

Scottish engineer, inventor and innovator John Logie Baird died in June 1946, 70 years ago. Intriguingly, like some other notable figures of his time, he was drawn to the idea that the dead can communicate with the living. So how did these men of science attempt to uncover the truth behind the paranormal?

This year marks the 90th anniversary of the demonstration of television by pioneer John Logie Baird. It’s also been 70 years since his death. Baird achieved what others thought impossible: transmitting what he called ‘the living image’. He was also one of many reputable scientists and inventors in the early 20th century who were intrigued by the paranormal.Baird’s grandson Iain Logie Baird, former curator of television at the National Media Museum in Bradford, says that “in the 1920s and 1930s, there was a much more blurred line between science and spiritualism than there is today.

“Part of this was driven by the massive sense of loss resulting from World War One. A large part of a generation of men was missing and everyone was affected by it.”

Many prominent and reputable men thought it their duty to investigate this spirit phenomenon, using their expertise to try and decipher so-called ‘supernatural’ events.

Baird’s brief foray into the world of the paranormal began shortly after his television achievement. According to his musings in ‘Sermons, Soap and Television: Autobiographical Notes by John Logie Baird’, he thought it would be possible to use infrared or ultraviolet (UV) rays in place of light in order to send an image in complete darkness.

With the help of his assistant, Wally, he tried UV first, but it affected the boy’s eyes, so he switched to infrared. Baird used electric fires to produce the radiation, writing that they were “practically heat rays. I added more fires until Wally was nearly roasted alive, then I put in a dummy’s head and added more fires and the... head went up in flames.”

After this disaster, Baird decided to try shorter infrared waves. He did this by using ordinary electric bulbs covered with a thin layer of ebonite, which cut off all light, but let the infrared rays pass. Wally managed to sit under this apparatus without much pain and Baird “saw him on the screen although he was in total darkness. That was something new and strange, I was actually seeing a person without light,” he wrote. Newspapers called it ‘seeing in the dark.’

Baird continued to exhibit his achievements to scientists and other interested parties and, while staying at a hotel after one such demonstration, he befriended an elderly professor. He had been called in to investigate a medium called Marjorie, “a respectable married lady who in early life had lost her only son”.

The boy, called Jack, had supposedly slit his throat with a razor in a ‘fit’ of depression, leaving bloodstained thumb marks on the handle. The razor had been locked away, untouched after the incident. Marjorie, heartbroken, joined a spiritualistic circle to try to speak to Jack again. “Here she was discovered to have astounding mediumistic powers,” Baird wrote.

Touching the spirits
During a séance led by Marjorie in a dark, quiet room, she became entranced and Baird wrote that “her body exuded from its orifices a strange vapour called ectoplasm”. It “floated about her like a cloud and was of such a fine and mysterious nature that it could be used by the spirits to build ectoplasmic bodies”. The spirit of Jack appeared, answering questions and using the ‘ectoplasm’ to materialise his hand, moving objects and touching the audience.

(...)

https://eandt.theiet.org/content/articles/2016/09/science-of-the-supernatural/
 
The one where stuff was coming through the womans veil was quite impressive. I'd like to know how she did that. The picture could simply have been posed for the camera I suppose. The other thing which is odd is stuff coming out of peoples ears. I mean I can see how you can hide a piece of cloth in your mouth and push it out but your ear? That IS a neat trick!
I know I'm responding to a post you made 17 years ago but with the ear trick question, I would say that could be done using medical use spirit gum .. either the water based which would be safe on the skin or the none water based which wouldn't be good for the skin but it's stronger. I've no idea when spirit gum was invented but I've also used it for make up F/X.
 
... I've no idea when spirit gum was invented ...
It was in regular use for theatrical makeup at least as early as the 1870s ...

It has been manufactured since at least the 1870s, and has long been a standard tool in theatrical performances where prosthetic makeup or affixed costuming is used. It was mentioned in the earliest known published theatre makeup manual: "How to make-up; a practical guide for amateurs by Haresfoot and Rouge" in 1877.
https://en.wikipedia.org/wiki/Spirit_gum
 
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I ran across this article by photographer Shannon Taggart about her time documenting Lily Dale and the spiritualists there:
https://www.cnn.com/style/article/shannon-taggart-photography-seance-spiritualism/index.html
There are some photos of a modern medium who produces "ectoplasm" as part of her work.
Throughout "Séance," Taggart searches for evidence of ectoplasm, connecting with practitioners who do still purport to produce it. Most of the contemporary mediums she met did not work with the ambiguous material, though she said they believed in it.
One who does is the German medium Kai Muegge, whose techniques are contested within Spiritualist circles. In Taggart's ghostlike images of Muegge, he expels weblike and foggy white matter, taken in darkness during short intervals when the lights were turned on and off.
"It was totally surreal, because it was like seeing those vintage pictures jump to life right in front of my eyes," she said.
Here is one of the photos from the article:
shannon-taggart-photography-seance.jpg
She came out with a book about her experiences, Seance, which you can read about here, recently reprinted with extra stuff:
https://atelier-editions.com/products/seance
Atelier Éditions is pleased to announce a new edition of Séance, a photobook by photographer Shannon Taggart, releasing 22 November, 2022.

American photographer Shannon Taggart’s fascination with Spiritualism, the belief in deceased individuals’ ability to communicate with the living, began during her adolescence when a medium revealed a family secret about the circumstances of Taggart’s grandfather’s death. Years later, Taggart, then a practicing photojournalist, found herself obsessively drawn to Lily Dale, New York—the world’s largest Spiritualist community. Her transformative experiences there catalyzed a 20-year odyssey documenting Spiritualist communities throughout the world in search of “ectoplasm”—an emanation exorcised from the body of the medium, believed to be both spiritual and material.

Named one of Time’s best photobooks of 2019, and now revisited by Atelier Éditions, Séance offers readers a remarkable series of supernatural photographs exploring Spiritualist practices and beliefs within communities found across the US, the UK, and Europe. The photos are accompanied by Taggart’s commentary on her experiences, a foreword by Dan Aykroyd, creator of Ghostbusters and fourth-generation Spiritualist, and illustrated essays by curator Andreas Fischer and artist Tony Oursler.

Atelier Éditions’ reissue also features new commentary by writer and filmmaker J. F. Martel, additional images, and an updated design.
 
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