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Synopsis: Sometime in the future, the Canadian Academy for Erotic Inquiry is investigating the theories of parapsychologist Luther Stringfellow. Seven young adults volunteer to submit to a form of brain surgery that removes their power of speech but increases their power for telepathic communication. An unseen group of students observes the results. As the experiment progresses, Stringfellow's theories come to fruition. Later, aphrodisiacs and various other drugs are introduced to the subjects to expose an inherent polymorphous perversity. In the end, they are isolated from each other, provoking antagonism and violence between them, which results in two suicides.
 
IMDB:
5.3
Rotten Tomatoes:
60%
NOT RATED
Year:
1969
65 min
375 Views


then to select from his fellow subjects

the one psychically most vulnerable.

And by the application of subtle, social intimidations

followed by a careful series

of potent symbolic gestures

draw the subject into the field of his

psycho-telepathic dominance.

Once a true conglomerate

exhibiting complete telepathic

bonding has been established

between this primary couple

the progression towards a larger and

more complex conglomerate may begin.

In psychic research

the emotional distance between

the researcher and his subject

is inevitably diminished until it is no more

than the distance between any two persons.

The acquiescence of the subject

of the demands of the researcher

comes nothing more nor less,

than an individual act of faith of love.

If there can be no love between

researcher and subject

there can be no experimentation.

In conventional theories

of scientific methodology

an experiment proves its validity

when it can be universally

repeated in every aspect.

In psychic research, such an

approach is completely untenable.

The existential circumstances of

any experiment in parapsychology

are inextricably mixed with the individuals

and the phenomological sets involved

in that particular experiment

and cannot be abstracted

from those individuals

or phenomological sets.

The conditions of experiments

in parapsychology are unique,

non-uniform and non-repeatable.

A completely non-scientific burden

is therefore place upon the researcher

for if the peronal relationship between

researcher and subject deteriorates

the experiment cannot continue

along its natural course.

The sensitivity of the experimental

parapsychological plexus

demands new methods

to help maintain the emotional

momentum in certain experiments.

Proving notice

that the motto of the Canadian

Academy for Erotic Inquiry

has immediate relevance for the Stringfellow induced telepathy series.

"Amor vincit omnia."

Or:
"Love conquers all."

We understand that the unique way

in which an individual perceives

and reacts to his environment

is a funstion of his own

experiential space continuum.

When object events enter the experiential

space continuum of that individual

they become an integral

organic part of that space.

They are actually changed,

qualitatively modified

in accordance with the

creative nature of that space.

But we are now dealing with telepathists.

In theory

the experiential space continua of

two or more telepathists can merge,

can blend together to an extent far beyond

the range of normal human experience.

What would be the organic nature

of communal experiential space

shared among eight psychosomatic entities?

Would one person, one mode

of perception and reaction,

one experiential space continuum

dominate this oversoul?

Or, would each mind participate

in the synthesis of a uniform

newly created emergent space,

unlike any of its constituents?

How would the physical and social functioning

of members of this group be altered?

Or, could they function in

recognisable modes at all?

There is some evidence to suggest

the potential telepathic intensity

varies indirectly as the square of the

distance between two telepathists.

An increase in physical distance may

therefore be used by one telepathist

as an effective defence against telepathic

intrusion on the part of another telepathist.

A far more sophisticated

intrusion avoidance device

known as schizophonetic partition

was evolved by one of the female subjects

during the group isolation sanitorium phase.

In order to subvert attempts

by fellow subjects to establish

potentially intrusive telepathic rapport

she completely separated her

telepathic, non-verbal self

from her oral verbal self.

The telepathic self functioned

as a false self

diverting fellow telepathists

from the real or true self

which manifested itself only in occasional,

deliberately confused, verbal utterances.

She thus protected her true

self from telepathic intrusion

by abandoning her telepathic

faculty to a false self.

Not surprisingly, repeated telepathic

probes undertaken by other subjects

could not discover the true nature of

her experiential space continuum.

The danger inherent in

schizophonetic partition

as a telepathic intrusion avoidance device

is that the false telepathic self

tends to become increasingly parasitic

on the true oral/verbal self.

The true self begins to suffocate

in as much as it is starved

of contact with the outside.

And the false self gradually

becomes the only self

to interact with other selves.

In the instance of our

female schizophonetic subject

the true self began to express

its moribond existence

through the telepathic emission

of violent images of decay

vampirisim, disentegation and necrophilia.

Which sporadically interrupted the

functioning of the telepathic false self.

The intensity and frequency of this

emission of morbid, telepathic images

rapidly increased until it began to

create the same depressed mode

in those close to her.

Another important function

of our experiment

was to be the practical testing

of the Stringfellow hypothesis.

The Stringfellow hypothesis takes

the form of the following equation:

The rate of telepathic flow

between two minds,

is directly proportional

to the intensity of the relationship

between the two minds.

The units used to measure flow and intensity

are taken from psycho-chemistry.

In less mathematical terms, we may say

that this hypothesis indicates that

even between mature telepathists

there can be no telepathic communication

until some sort of existential

emotional relationship

has been established in

conventional sensory ways.

Thus, among complete strangers

there would exist only a kind of noise,

a short wave static

The Stringfellow hypothesis

also suggests that here

the potency of human eroticism

would play an important role.

A strong sexual attraction

would be a substantial basis

for the establishing of a geometerically

increasing rate of telepathic flow.

The politics of experience

on the level of individuals

is a correlative of the

politics of social groups.

The politics of telepathic experience

may be studied as a projection of the

power struggles among individuals

into the extremities of psychic

potency and complexity,

a projection that is, into the

future of human social evolution.

The role of the induced telepathy series,

in the total Canadian social experiment,

is theoretically secure.

That role emerges out of

Dr. Stringfellow's concept

the telepathic commune.

A group characterized by the blending

of experiential space continua

and the constant instantaneous

exchange of data

among the nervous systems

forming the commune.

Stringfellow indicates that at

the most basic structural level

the telepathic unit,

which empasizes acts of faith and love,

seems the most plausible replacement

of the obsolescent family unit.

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David Cronenberg

David Paul Cronenberg, CC OOnt FRSC (born March 15, 1943) is a Canadian filmmaker, actor and author. Cronenberg is one of the principal originators of what is commonly known as the body horror or visceral horror genre. This style of filmmaking explores people's fears of bodily transformation and infection. In his films, the psychological is typically intertwined with the physical. In the first half of his career, he explored these themes mostly through horror and science fiction, although his work has since expanded beyond these genres. His films have won numerous awards, including the Jury Prize at the Cannes Film Festival for his film Crash (1996). more…

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Submitted on August 05, 2018

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