Phase 2 – Wandering Soul Dossier



Marshall Spector Growing up in San Francisco, Spector played bass during the 1950s in a number of rock’n’roll groups before enrolling in a degree in composition at the University of California, Berkeley. In the early 60s he became involved in radical student movements and was arrested in 1961 for avoiding the draft, organizing protests and distributing anti-government propaganda on audio cassettes against US involvement in Vietnam. On his release, he was contacted by AUDiNT which he joined in 1963.

Magdelina Parker Chilean performance artist and filmaker whose work revolved around the use of magnetic tape, voice and music to produce cut-up soundwork as a form of ritual incantation. In her native Chile, Parker had previously been interested in the music played during tribal burial rituals. Her shows and short films in New York in the early 1960s won her notoriety due to member of the audiences fainting due to the hypnontic frequencies she used to soundtrack her work.

Nguyen Van Phong Studied at Ho Chi Minh City University of Technology in the late 1950, Van Phong was a Vietnamese bio-acoustics expert with an interest in overlaps between Buddhism and science, and the limits of human auditory perception. He had specialized in heterodyning techniques whereby simultaneous ultrasonic tones could produce interference patterns that could create inaudible subsonic frequencies. Van Phong's research also concerned the physiological symptoms of resonant frequencies.

Phase 1 - Ghost Army Dossier


AUDiNT was formed in 1945 by 3 defecting members of the Ghost Army in order to ensure that the secret frequency weapons developed during this period would not be monopolized for military means but would be accessible in the public domain.

Hypolite Morton Grew up in New England and trained as a psychologist, Morton initially worked for the US army as propaganda expert with a special research interest in Nazi ideology and Occultism and its relationship to military tactics, strategy and secret weapons programs (acoustic cannon). Morton was re-deployed in 1943 to help liase between Division 17 of the National Defense Research Committee and Harold Burris-Meyer in the Secret Planning Board. He assisted in analysing the psychoacoustic affects produced by the Germans by attaching screaming sirens to Stuka dive bombers. The failure of attempts by Burris-Meyer and former Federal Theatre sound designer, Vincent Mallary to repurpose Nazi Stuka techniques for the development of a sonic bomb for the Allies, led to Morton's re-stationing to the 3132d Signal Company to concentrate on development of tactics of sonic deception.

Walter Slepian A graduate of Stevens institute of Technology, Slepian was a sound recordist and designer with an interest in film sound design and editing. Recruited by Harold Burris-Meyer (at Stevens), Slepian assisted him in the physical research for the sonic aspects of the Ghost Army. He had assisted Burris-Meyer in his earlier, pioneering work in stereophonic sound reproduction, his 'sound show' for Walt Disney's Fantasia, his consultancy to the Muzak Corporation, and the subliminal bass notes during Paul Robeson's performance in The Emperor Jones.

Bill Arnett Grew up on a farm in Illinois. Engineer who worked with The Ghost Army on new loudspeaker systems to improve the fidelity, presence and bass reproduction of speaker systems. Drafted into the Signal Corps just before the Pearl Harbor attack, Arnett ended up at radio repair school at Fort Knox, Kentucky. From there, he was redeployed to the Army Experimental Station at Pine Camp. Helped devise a new 250 watt speaker system using 6 15" inch 'direct radiator' Jensen speakers mounted in a weatherproof wooden box. Arnett also worked closely with Bell Labs and Brush Development Company of Cleveland in the 40s on a replacement for skipping phonograph needles used by The Ghost Army, returning instead to the wire recording devices patented by Valdemar Poulsen in 1899,