OUTLAW TECHNOLOGY

Preface

It should be noted that all of the characters that appear in Outlaw Technology are real
people, and their observations apply to actual events, as best as can be determined by the author.
However, it should also be noted that while this text began life as a manual for artists on the use
and application of subtle energy vis-a-vis alternative radionic and psychotronic technology, it
subsequently lost much of that modus operandi and became something quite different.

Originally over 400 pages, Outlaw Technology delved into the history and application of
mind based technology as it has been applied to the diagnosis and treatment of disease. Many
parallels were found between the application of these techniques and those of the creative process,
which says much about why healing and art are so closely connected in ancient and aboriginal
societies. The book also presented much original research into the mysterious world of plant
consciousness and communication. The resulting copy was a very cryptic collection of historical
facts about subtle energy research, interspersed with practical experiments in plant communications
that gradually became a form of sonic bio-art.

This large and complex manuscript had been completed prior to the dialogue that forms
the substance of the current book. Putting all together in one volume in the end proved an
impossibly cumbersome task. As a result, much of the early writing that formed the original
substance of the book was set aside for later consideration. As a consequence of this editorial
decision, I began to view the new Outlaw Technology as an afterthought to the earlier effort.
However, these new conversations supported a scientifically theoretical context for a later
discussion of the role of subtle energy in the creative process.

Consequently, much of the present book focuses on the ideas of John Norseen, an engineer
and semiotitian employed for many years by the Lockheed Martin Co. and various U.S.
intelligence agencies. Norseen's stated work was to explore the weaponization of the mind. As
such, we began our discussion from diametrically opposite directions, my background being fine
art. Our discussions provided me with a fascinating glimpse into military black box technology
and the mindset of its creators. Through Norseen I began to see how defense industry engineers
struggled to incorporate consciousness into practical design applications, how they went about
quantifying and systematizing an approach to mind physics generally considered impossible by
mainstream science.

My conversations with Norseen shifted the book's focus more towards examining the
vulnerability of the mind to outside technical manipulation . It was the logical result of an extended
dialogue with a weapons designer. While I hoped his technical insights into mind technology
would enable me to make a better case for applying similar techniques to art, they also added a
surreal component to my investigation. Norseen's world of semiotics became, in and of itself, a
fascinating literary digression.

Duncan Laurie