At one point early on I was having a problem with the overlapping of your terminology. Semiotic was beginning to mean too many things at different times and contexts. Let me drop back a step and address this again.

Instead of semiotics, we could just say everything is frequency and wave-form and other forms of energy and never even get into signals and symbols. So why do we need semiotics?

My sense is because symbol and signal happens to be the way our human perception and communication functions and so they are important. If a semiotic is a form of information, meaning literally the form information takes, then we are getting somewhere.

Information is all frequency and waves, etc. until the mind gives it a form, which we are calling a semiotic; is that it? If so, then there is the matter of intent, call it our attention. Intent remains formless; it is the life force, the God, the Soul in all that is born and dies. Intent is that which becomes reduced by association to various drives and responses to things seen and unseen. This intent shapes frequencies into semiotics so it can reflect upon them, interpret them and communicate them to others.

Now, you say the semiotic is like a copy machine, grinding out duplicates for distribution, which are periodically revised and sent out again. Now they are acting like what we know of information. The difference being, some transmittals/copies contain more life force than others. Intent is amplified by life force. When a large presence of life force impinges upon a semiotic structure, the structure is affected.

You have given me a clue to another attribute of a semiotic, the ability to store and release information and/or energy. This could also be the ability to resist or to regulate information flow as well; a true “form”. By God, now it's an appliance!

Consider art as another type of semiotic appliance, one designed to carry sacred and cultural information beyond the merely mechanistic or pragmatic. Does this function qualify Art as a rarified technology, where symbols are combined to allow the underlying forces they symbolize to resonate into new semiotic constructs, new forms of awareness and intent on the planet?”

I was hoping to elevate the discussion of semiotics to a higher purpose beyond its militaristic implications. I kept wondering where soul, emotion and love fit into the cold reality of semiotics. They didn’t seem to have much of a role in the business end of it.


The Sign or Symbol (the Semiotic) consists of the Object. An object requires certain attributes or components in order to be of any meaning --- there must be a Representation or Representamen of the Object...this could be one of the interpretations of the symbol...or a copy, or an internal reflection of itself. Then there must be an Interpretant.... The Interpretant can be the object itself, or some aspect of the symbol itself.... Only when you have S=O as function of I x R do you have a Semiotic that is a basic Sign/Symbol as Semiotic.

Now we get into all the other exciting things that you VERY ACCURATELY DESCRIBE and DEPICT in your summary email...INTENT is when a Semiotic causes another semiotic to be created.


Let me use my favorite example of a passive semiotic...the Orange Windsock. I am a pilot in a plane at 1000' on a clear day. I wonder how I should land. I look down and what catches my eye -- the ORANGE WINDSOCK. Now what is this Windsock...it is a semiotic… It is a sign that tells me that if I pay attention, if I invest Interpretation energy, that I will get something useful that will satisfy my Intent to Land. The Windsock is both passive in that it is occupying some space and time but when I lock onto it, it suddenly releases, free of charge, all of its information for me to use in an intentional way...so it is not only passive. It is not seeking me out, but it is very ACTIVE in freely exposing all of its S = O x I x R to me once I become aware of it. I can swiftly and very economically locate on my map the location of the windsock or picture in my mind's eye the location of the windsock onto the mental imagery of the area I am flying over. And this notation of location of existence of the windsock is me making a Symbol of the Semiotic...If I refer to my map or to my mind's eye, I can rapidly call up a representation of the INFORMATION that was communicated in the last Interconnection between me, the pilot, and the viewed windsock. Each time I look at the windsock, I see a Sign or a Symbol or a Semiotic that updates me on the Information emanating from the Semiotic. I can immediately know that the wind is blowing at 35 mph by the way the windsock is let out, and I can tell the direction into the wind by looking at the pointer aspect of the windsock. I can tell if the windsock is new or battered and can interpret the condition of the field, and information about the amount of care of the landing surface. So, in an instant, a Semiotic of an orange Windsock can provide me, the pilot, with Immense amounts of information and intentionally, for my action, it provides me with a portfolio of past and present information and guides me into a successful negotiation with the future.

Now let's say that this is a very Duncan Lauriesque Windsock and it is able to realize that it has just been spotted by the pilot flying at 1000 feet above. Somehow, this windsock can detect that it is being “Interpreted”, and this Windsock uses a Battery to allow it to Glow Ultra-Orange and to turn on landing lights and to announce the name of its location and to encourage the pilot to land. Now what is going on here...This is still a Semiotic, but it is a very active, planned and surging source of information...It is intriguing and is attempting to attract the Information, Intent and Interpretation of the pilot. Now this semiotic is setting up a Feedback Loop with the Interpreter, which means that it is somehow trying to form a communications loop and a semiotic to semiotic function.

Taken a bit further, this windsock also turns on a Radionic Waveform that locks onto the engine of the pilot and the mind of the pilot, and interprets that pilot's life-force and seizes the Intentionality parameters of the pilot and simply directs the Pilot to land -- in this extreme case, The Orange Windsock is a very ACTIVE SEMIOTIC that transmits and captures INTENTIONALITY of other semiotic structures and forces information of the past and present into certain aspects of the future.

Duncan, this is exactly what you are describing when you describe ART. Some forms of ART are so persuasive that they capture the intentionality and make something happen. At the very least, ART causes a notation in the mind's eye, and sets up a potential intentionality and information fluctuation.

Semiotic Batteries can be set up by Cultural aspects; sometimes it is just the number of times you see something before it begins to resonate. There are studies that it takes 30xN to make something habit forming in our brain. If I don't see an average semiotic 30 or more times I may not set up a relationship or interpretation linkage...But then maybe something will just hook on to me...with some strange Radiation sensation...this is RADIONICS that is causing the resonance and active Interpretation…or more likely CAPTIVE resonance.


The power of what you are doing is setting up a Flow of Semiotics to the Interpreter. But then when it is registered that there is a semiotic flow, the pilot is noticing the windsock or vice versa the windsock is aware there is a pilot overhead...then voila, a Radionic Battery is set up…or a Radionic Loop that force drives the Semiotic interpretation of each other. And the interpretation then enters another stage...the relationship of a pilot to the windsock. Or a person to Duncan Laurie machine becomes obvious to another person...or to another Radionic Channel...and now the Semiotic condition can GROW...Three and then Three Hundred Thousand…All interlaced in a flow of Interpretation, Symbol, Sign, Representation... And then let's say that another member of the Future is attracted to the Semiotic Action...but rather than link by resonance there is a need to change the Representation of the Action from that of music to that of Smell...or to Gravity or to Affection. It is in the mystery of Chrysalis that Representamen can reach out to other Semiotic Concepts. This is that special mental phenomenon where you See with Smell and Hear in Color, Taste shapes...Synesthesia. And it is here where the Dimensions can intersect and release or dump or transmit information as an Intentional purpose, such as the Death/Life channel which we have discussed so much.

As I think back to Aymon’s article 13 you sent me on his feelings upon encountering the high priest in the Mexican temple pyramids...you said about that experience: “…the life death bloodletting slipped into the mental realm of the interpreter, the past into the future, by the radionics of the temple, the pyramid producing a Representation that could be picked up by the ritualized mind's eye of the interpreter. The ancient priest turned on a semiotic battery and transmitted a representation that could be picked up in the future by a mind transfixed in that chamber of the pyramid……”

So you can clearly visualize that Semiotics can move across time. Semiotics may be the literal force of the past that ensnares the future using symbols as signs for interpretation of various representations, for the active release of information to intentionally cause a linkage between and/or among an infinite number of semiotics structures. Art is the purposeful linkage of semiotics throughout time. Radionics is the purposeful configuration of semiotics between interpreters. Radionic Art is the purposeful communication of Semiotic Intent. PUMP UP THE VOLUME


I am only trying to help refine the understanding of what semiotics is all about. Peirce wasn't finished with his concept of semiotics when he concluded in the Sign of the Three...the Object, the Representamen and the Interpreter. In fact, if you look at his personal writings and notations, there is every indication that he was about to draw the conclusion that the Sign as Symbol served an Active Purpose. And that is what I am trying to do for this effort. The ACTIVE PURPOSE of Semiotics is to Modify and Communicate with the Future – this means INTENTIONALITY. The Basis of the Universe is Information that via Semiotics can be vectored resulting in Intentionality. Radionics is a powerful form of communication of semiotics – hence intentional information, capable of transfiguring the very nature of semiotic structures, to cause the Interpreter to intentionally understand the meaning (the sign/symbol) of the Object or its Representative legacy.

Duncan, a Graphic that depicts Sign (subsuming symbol) as Object, a representation of the object, to include mirror image or internal manifestation, essence, and Interpreter (not bound by any material dimension) is what is Resonance. The form of resonance…passive, active or radionic…is what makes the Sign, which is ART – transcending time and space and mind.

Given this...as we begin to control the resonance of semiotics...the radionics of ART...we can begin to shape the Intentionality of FUTURE MIND.



In the paragraph that ends with "PUMP UP THE VOLUME", you speak of semiotics of the past ensnaring the future. In this regard, you also speak of the linkage of semiotics. We discussed over the phone one time how art links semiotics that hadn't previously been linked before, increasing their impact and energy upon society. When you say, "Radionic Art is the purposeful communication of Semiotic Intent", I'm getting a little confused. How does this differ from ordinary experience? Meaning, what differentiates the "art" experience from any other semiotically structured and engineered process like those Sharov describes in biology and genetics? Also, if you remember Terrence McKenna, he was always talking about a future event that cast its shadow back into the past, producing an event corridor that pulled energy into line with a future outcome. Certainly this seems like a semiotic transaction in the sense you are describing.

You then make a very unusual interpretation of resonance that I did not comprehend very well. It seemed to connote a conjugate form of a Sign, a template or geometry within the sign, that you called a "...mirror image or internal manifestation, essence..." that is responsible for producing the Sign.

Meaning what, that the conjugate sign is a resonance that is released by the sign through the active enquiry of the interpreter? Meaning, I suppose, as these semiotics are pumped into minds, the more these “virtual” resonances take control of the host’s attention influencing their behavior?


You ask great questions...the kind that linger and persist in my mind and I keep biting away with bits and pieces of the answer that I want to give back to you…to help you see in your mind's eye the tantalizing panoply that you have created in my mind about semiotics, and what makes up semiotics, and that gives a definite conceptual answer for you to use.

We have discussed the characteristics of a Semiotic Sign. It must have an Object, a Representation, and an Interpreter...but the semiotic must also have the following for us to make full use of the concept of structure impacting with brain structure to bring the future into focus…or the past to bear on the present or future.

A semiotic must allow for some estimate of the whole form from which it comes or is derived. For instance, the great art of the world, the Michelangelo statues or the Mona Lisa, are at one moment all that it can be to represent itself...this Wholeness of Form differs from semiotic to semiotic...it leaves us, the interpreter, in many cases saying, I want more or what else is missing. But in great ART, the semiotic is the underlying complete form...the form of complete InFORMation.

Semiotic must also provide Aesthetic and the value circumscribed by Aesthetic. Now Semiotics is species dependent. And while it may cross species, the usefulness of cross species semiotics is the ability of the different brains to capture the aesthetics of the semiotic. A sign or a symbol to an Eagle or a Worm may not be the same value to a Human or a Dolphin. In this case, it is the Brain and the learned value of a Form or a semiotic that makes it special to the species or not. In many cases a Semiotic totally bypasses a brain and never engages in interactive interpretation.

Semiotics is subject to genetic manipulation. There are very strong experimental findings that show that Semiotic Aesthetics and Estimation of Form Wholeness is subject to genetic variation. For example, testing of primates with tokens exchanged for items of food…such as a dry biscuit, or juicy fruit cause the Token, the Semiotic, to be the cause of jealous physiological responses…increased blood flow, constriction of blood vessels, visual concentration, defensive body posturing, and directed attention to rearranging a prior interaction between token…and food item…and future relationship activities with handlers and other primate animals.

For example, a leader male monkey when shown a token and only a biscuit will exchange the token for the food item in a particular group pecking order. But if only a short while later, another male monkey, lower on the dominance order is offered a choice of exchange for the token of the same kind of biscuit or section of plump juicy grapes, will immediately take the fruit and attempt to hide it or eat it faster than the ability of the lead male monkey to change the results of the primary exchange. The male leader monkey will go wild if he sees that the lesser male got a more VALUABLE or AESTHETICALLY pleasing Semiotic for the token.

Therefore it is permissible to conclude that Semiotics contain a vector of Aesthetics to go along with some value estimate of the whole form. For example, if one token is exchanged for ten grapes and another token fetches 15 grapes...the same type of brain interaction, species-dependent response takes place, in an attempt to equalize or optimize the AESTHETIC and Whole Form value of the Semiotic...wherein the Token Semiotic takes on or shares the inherent value of other future linked semiotics...first, the biscuit, then the grapes, then the number of grapes and so on. So SEMIOTICS allows for VALUE and AESTHETICS and NOVEL LINKAGES of SEMIOTIC structures to structures in the environment and in the species-specific make up of the Brain as semiotic Interpretant.

It is important to realize that a Semiotic consists of a raison d'etre…a complete form. It is this AESTHETIC WHOLE that delineates one semiotic or one sign/symbol from another. In my back yard I cut down a whole patch of very tall weeds, but I didn't cut them all at the same angle, or in some cases all the way through. Accordingly, they died from lack of water, or sunlight or production of chlorophyll, but all in different patterns.

So what was it in the weeds that caused me to look at them now some two weeks later? They are brown or desiccated or dead in different patterns per each plant. They all either tried or couldn't fend off death, but at different patterns of the completely whole Weed that they had been...it is obvious by looking at the dead patterns that the weeds tried to get Healthy and to restore themselves to a prior PATTERN of Wholeness.

Duncan…they tried to become the AESTHETIC WHOLE, the SEMIOTIC...but failed. IT IS SO OBVIOUS that Structure itself and structure with a sense of wholeness and value…the AESTHETIC is where Semiotics becomes life. Now if I were to arrange the weeds in a vase with some food coloring, I would be attempting to salvage the semiotics and infuse them with new SEMIOTIC AESTHETICS...to preserve them in death semiotics…as an INTENTIONAL ART FORM…A NEW AESTHETIC, for REPEATABLE TRANSFORMATION OF AESTHETICS INTO AN UNDERSTANDING OF A PAST EVENT or TABLEAUX for FUTURE SEMIOTIC INTERPRETANT WHOLENESS OF FORM VALUATION, THAT WILL CAUSE SOME DEGREE OF INTENTIONALITY and interaction of brain structure with semiotics to change the future...such as in the mind of a person looking at the vase and the preserved weeds, now food-colored, some time in the future from now.

The weeds in the vase represent SEMIOTICS and VALUE, past and present and future due to INTENTIONALITY, where intentionality is subject to BRAIN STRUCTURE and INTERACTION with a Semiotic interpretant.

NOW this entire vector of aesthetics and wholeness of form can be reinforced and made to occupy a greater degree of Brain INTERACTION by means of RADIONICS. Let's say that when the vase with the food-colored weeds is touched by a human hand…sensors in the vase will convert the hand touch into a played recording of what the weeds are, a brief history and time they were placed in the bottle...and seeking a continuation of interactive semiotics, the recording asks the person assumed to be part of the finger touch to smile for a picture to be taken.

Now this picture of the person that touched the vase can be interpreted by the semiotic database underlying the table that the vase is on. And using Artificial Intelligence and Logic software, the vase, the flowers and the person can begin to create a Semiotic Exchange over some time period.

The SEMIOTICS can even begin to explore SYNESTHESIA, wherein the vase of colored weeds, now having some understanding of the person that is touching the vase and is near the table is a young man or older woman or other, can using explorative interactive radionics in synesthesia, send out Semiotic Brain Waves that cause the person to Smell what the weeds could smell like...or could shape the semiotics to cause the person to feel all warm and mellow inside by helping release neuro-chemicals geared to pain relief, pleasure hormones...the release of Oxytocin for example.

See Duncan…Semiotics is so much more than just a word or a picture or an event...it is a structure of communications by which VALUE and WHOLENESS OF FORM, and PREDICTION or CAUSATION of Future FEELINGS and MEMORIES CAN BE INTENTIONALLY CREATED, within species or across species, based on the interaction of semiotics with brain structures.

Hopefully this shows how the structure of Semiotics is inherently tied to how the brain interprets inFORMation.

Now as we have discussed, RITUAL and PRIOR MEMORY, and INTENSITY, and RADIONIC POWER, to include SEMIOTIC BATTERIES for remote instantiation of semiotics over time and away from online semiotic power sources can be added. WE MAY want to put certain semiotics into a package with a semiotic battery, and turn on certain sections of the brain later on when perhaps we are in a location where the semiotics we seek do not exist...or over time using semiotic batteries to act as Semiotic MEMORY or triggers of new linkages to form new AESTHETICS or values.

So now the Semiotic Diagram contains the following…an Object, an Interpretant, a Representamen (remember the dead weeds…they were trying to restore themselves to some internal vision of the representation of what they were, but could not complete), an Aesthetic value…an Intentionality vector, a structure for RADIONIC resonance, a subtle form for future BATTERY Powered resonance – MEMORY, and the ability to INTERACT with future INTERPRETANTS by SEMIOTIC LINKAGE, wherein a Sign/Symbol can become intrinsic with another Sign/Symbol, thus sharing the semiotic resonance.

As you can see, SEMIOTICS is the structural mechanism by which a simple form of communication can become more complex…can link into different and future brain structures and can carry and convey the value of past into future forms and values. SEMIOTICS is indeed how the PAST becomes known to the present, and how the FUTURE is CREATED by Signs and Symbols of the past, sometimes with INTENTIONALITY and sometimes just by WHOLENESS OF FORM. Within SEMIOTICS, ART and RADIONICS are crucial elements to insert value from one structure to another.


Go back to your metaphor of the wasp shadow and scream causing reflexive control of the personality. We begin with Norseen describing how his young daughter's scream and the shadow of a hornet caused him to throw down his crutches in complete fear and run; point being that total control was taken of his mind and body by the force of those semiotics. Norseen explains: the semiotic hits the amygdala portion of the brain, releasing the fear patterns, which overwhelms consciousness. He goes on to say that a similar pattern can be released via a drug, a signal, a musical code, a visual…anything capable of pressing the right button…and that response superimposes over the immediate circumstances. Point being: it is a potential weapons system, waiting to be fully developed as a psi-war SDI. Further point being; the signal can also be released by Art.

In an examination of the tools of radionics in light of Norseen semiotic theory, brain function and art, the following points emerged throughout our conversations: As radionics is a method of transmitting intention (information) into energy or form, one can say that art that generates emotion in the viewer is radionic. Art also links the resonances of previously unaligned semiotics, creating new metaphors through which we examine ourselves. Art resonates certain patterns in the brain semiotically, which we experience as emotion.

Norseen adds a technical note to this process when he states “the knobs and dials of the radionic device are in fact Lyapunov Functions. We pull up a control board in our mind, a kind of mental map of what we envision working upon. Then, we create a Representamen of this control board vis-à-vis the radionics device or art process, and project this Representamen into it. We then use the device to dowse a direction for our intent to follow. In one case, this is a radionic treatment and in the other case it is art.”


Duncan, you ask how we can measure intentionality. One way is used by the folks at Princeton. They place measurement devices of brain activity in locations of large numbers of people that are interacting over a third semiotic, and not mentally aware that they are being monitored...such as a movie theater. At different points in the movie, a question or form is presented or suggested to the audience, and the brain sensors are analyzed to see if they correspond to any standard semiotic logic pattern or sequence.

So while the brain analysis can show…here is where the explosion took place in the movie...the audience brain scan shows the response to the explosion in the movie…there is at the same point in time a semiotic shown. Such as a terrorist face...given that the explosion is a marker, the brain scan that follows may actually show that everyone in the theater is thinking of some similar intentional act, either past, present or future. By linking into these test semiotics, one can begin to generate a forecast of the NON-COGNITIVE awareness or sensitivity of groups of people to future INTENTIONAL EVENTS. For example, after the explosion, there could be NON-CONSCIOUSLY presented, using various Laws of Just Noticeable Differences and cognitive versus non-cognitive sensation/perceptual calculations, an assessment of the future, such as what will be the three or four or seven letter lotto number tonight at 7 pm. If the crowd at large internally focuses on the semiotics listing 911, or 0911 or 0000911...one can get a very uncanny feeling that somehow the lotto that night has somehow been influenced with intentionality from the mental semiotics and brain structure resonance of a large number of people...that indeed, the power of semiotics and brain structure resonance can lead to intentionality and focus of directed action and behavior in the future...that the past can cause the present to flow into the future.