Stereo Page #3

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


The communal telepathic experience

translated into the larger

social national context

would preumably carry with it intrinsic

qualities of willing reciprocal dependency

and a mutual experiential creativity.

The social responsibility

of telepathic prototypes

is therefore of the utmost gravity.

For it is only by their individual efforts

that the creation of the first and most

critical telepathic communes can be realized.

For those of exponentially and

maturing telepathic capacities

the question of phenomenological

refinement must inevitably become one

with the problem of the

internalization of the sensory.

The telepathist faces the

obsolescence of the

senses and the possible atrophy

of the human sensorium

in all but its most mundane operations.

During a certain phase in

the telepathist's evolution

the sensory will attempt to

internalize to avoid its extinction

on the level of intellectuality and emotion.

This avoidance could take two forms.

One would be the forced psychic injestion

of the entire universe is conveyed

in terms of sensory information.

This would partially manifest itself in

in the instantaneous translation

into the vocabulary of the sensory

of all purely psychic abstract

or extrasensory phenomena.

Second form of avoidance would

be the reification of the psychic,

the abstract or the extrasensory, and its

subsequent externalization or projection.

The process begun by the subjectification

and displacement of the nonsensory

would find a point of

equilibrium and complete

itself only with the indescriminate

return or internalization

of both the projective nonsensory information

and its sensory screen,

the passive external world as perceived by the senses.

In both instances, the distinction between

the sensory and the nonsensory,

the concrete and the abstract,

the psychic and the physical,

would be lost utterly.

These opposite poles of human sexuality

are traditionally held to be

hetrosexuality and homosexuality.

Yet this same bipolar structure

of sexuality is ignored

when the question of normaility

and deviation arises.

The norm is taken to be hetrosexuality

and both bisexuality

and homosexuality

are considered deviations from that norm.

The primary justification for normality

of hetrosexuality is reproduction.

Only a hetrosexual relationship can,

as yet, result in regeneration.

This argument colapses however

once it is demonstrated

that the sexuality involved in reproduction

represents only a very small,

almost accidental segment of

the total human sexual spectrum.

Academy research has established that

both hetrosexuality and homosexuality

are equally, what might

be termed perversions,

relative to the potential

human sexual field.

In this context, the true norm is

an expanded form of bisexuality

which we term omnisexuality.

As an aphrodisiast, Dr. Stringfellow

proposes the use of synthetic

aphrodisiac drugs

to assist those who wish to attain

a fully three dimensional sexuality.

The proper use of psychic aphrodisiacs

such as those being

developed by Dr. Stringfellow

at the Canadian Academy for Erotic Inquiry

is not to increase sexual

potency or fertility

but to demolish the walls of psychological

restraint and social inhibition

which restrict persons to a monosexuality

or to a stunted bisexual

form of omnisexuality.

A telepathist then, by virtue

of the omnisexual nature,

of his experiential space continuum,

may readily be seen to be the possible

prototype of three dimensional man.

Certain unexpected result however,

threw the future of the project into doubt.

When preliminary confrontations between

any two subjects were arranged

the subjects not only reported no

instances of telepathic communication

but quite emphatically avoided even the

most casual sensory contact with each other.

At the same time,

electroencephalographic probes

indicated that such telepathic

communication as was denied by the subjects

was in fact taking place, and at

a remarkably high rate of flow.

How could such flow exist among strangers?

In an emergency program modification

five of our eight subjects were

combined in an enforced community study.

These five subjects, although psychochemically

the least volatile of the group

almost immediately retreated

into a state of false incapsulation.

Refusing to communicate in any way

with either researchers or each other.

Before further investigations could be made

two of the five subjects committed suicide

in their residences at the institute.

Another, pierced his skull

with an electric drill,

an act of considerable symbolic significance.

Careful separation of the remaining

subjects was maintained.

The study of human erotic morphology

deals more directly with this question.

Morphology is the study

of form and structure.

Erotic morphology is the study of those

forms which evoke an

erotic or sexual response

when they are perceived or

otherwise communicated.

Not only the shape of objects or body

parts, but also the morphology of motion,

of movement in certain patterns,

can convey erotic signals

of a very complex nature.

Finally, the combination of shape plus

motion can attain an erotic significance

which is contained in neither shape

nor motion when taken separately.

But, the telepathist does not

have to perceive a breast or thigh

or sexual motion directly.

He can apprehend the thought of

a breast, thigh, or erotic motion

in the mind of another telepathist.

And this thought is received

with greater impact

than the perception of the actual breast,

thigh, or erotic motion

would itself have been.

Thus, although both telepathists in our

hypothetical confrontation are male

they have made an erotic

morphological communication

which is essentially hetrosexual,

or male-female.

We can begin to see why

the telepathic experience is

essentially omnisexual in nature.

Why the male-female bisexual

categories can no longer apply.

In the sanitorium phase of

the induced telepathy series

measures were introduced to

prevent further instances

of interuption caused by

frustrated telepathic dependency.

A single compact electromagnetic

receiver transmitter

was provided for the subjects

undergoing primary group isolation.

The receiver transmitter

was to feed the subjects

reproductions

of a variety of patterns of

electrochemical discharge

unique to Dr. Stringfellow,

the group's common researcher.

The prupose of these transmissions

from the institute

was to ease the difficult transition from the

inevitable telepathic dependency

established individually between

Stringfellow and each subject

to a group telepathic cohesion

and a group telepathic autonomy.

The necessity of sharing the

transmitted electrochemical patterns

either through the sharing of

the receiver transmitter itself

or the telepathic sharing of the

experience of receiving the poatterns

would provide a basis for the

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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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