Category Archives: Report

The World’s Largest Pyramid


Bosnian Pyramid of the Sun’ in Bosnia-Herzegovina is the worlds’ largest pyramid. Discovered in 2008 in Europe, it is over 25,000 years old, and contains many underground aquifers delivering energized waters to the town of Visoko.

Bosnian Pyramids : A Tour of Prehistoric Ravine Tunnels Labyrinth [FULL VIDEO].  Shows the discoverers tour, and muscle testing the monolithic ceramic stones.

The Underground Tour Of Bosnian Pyramid Tunnels. Dr. Semir Osmanagić takes us on a tour of the tunnels beneath the pyramid of the sun in Visoko, Bosnia & Herzegovina.

The Quantum Activist

There’s a revolution going on in science.

The Quantum Activist

A genuine paradigm shift. While mainstream science remains materialist, a substantial number of scientists are supporting and developing a paradigm based on the primacy of consciousness. Dr. Amit Goswami, Ph.D, a pioneer of this revolutionary new perspective within science shares with us his vision of the unlimited potential of consciousness as the ground of all being, and how this revelation can actually help us to live better. The Quantum Activist tells the story of a man who challenges us to rethink our very notions of existence and reality, with a force and scope not felt since Einstein. This film bridges the gap between God and Science. The work of Goswami, with stunning precision and without straying from the rigors of quantum mechanics, reveals the overarching unity inherent in the worlds major religions and mystical traditions.
Source: A Revolution in Science – The Quantum Activist –

THE QUANTUM ACTIVIST WORKBOOK, By Amit Goswami, Ph.D. [PDF] Download / Open



I Photograph Orbs

Fig. 1 Mirela with Orbs, March 12, 2016, [JPG] 965 x 1578 px, 541 KB

Fig. 1 Two Orbs, March 12, 2016, [JPG] 965 x 1578 px, 541 KB

This was the first picture in the orb photography session accidentally taken with flash.  The subsequent pictures were taken in the dark, and produced some energetic blurs but no clear image.    Some lighting has to be present ie flash in front of a black night sky at a distance.

The orbs shown here are theorized to be energy from the subjects directed consciousness punching through the space-time continuum via the foundational omnipresent aetheric energy of creation (pure non-material spirit).

Cf  ///

Shaolin Qi Gong at Lovelution

Shaolin Qi Gong at Lovelution

Shaolin Qi Gong at Lovelution

Feel the life force of love with Shaolin Qi Gong at the Lovelution retreat.  You will be guided through and learn the 8 Broacades (Ba Duan Jin) of Shaolin Qi Gong by Campbell Foster.   Qi (life force) Gong (work or cultivation) is a 4,000 year old exercise for medical, martial, and spiritual gains that you and another can practice in the Theatre Sunday 6:00 to 6:45 pm.  Lovelution Valentine’s Retreat –


The Northern Star

Northern Star

The Northern Star … Peace on Earth and goodwill to all may they find Knowledge, logic, wisdom, love, life, guided by Creation, it’s laws of Nature; and the power of the Spirit within each man and woman. Merry Christmas.

Ear Training Exercises I

Pitch, Rhythm, & Loudness, Cf for Linda, 4 Nov 2015

Ear training is a hearing skill in which musicians learn to identify pitches, intervals, chords, rhythms, instruments, sections, timbre, and other elements of sound. We can completely represent a sound with these three parameters: Pitch, Rhythm, and Loudness. We will use music to listen, derive, and rehearse to these elements in rotation.


Using the Song EIGHT DAYS A WEEK, by Lennon McCartney – (2 min, 43 sec) (Youtube), play the song over your stereo.

1. Identify and clap along to the main pulse of the song (written in 4 / 4) for the whole song

(4 beats to the bar, the quarter note gets one beat), Count ||: 1 2 3 4 :||

2. Listen for the clapping already recorded on the song and clap along for the VERSE song sections which contain clapping on the main beats of 2 and 4.

The main claps are on beats 2 and 4:

Count   ||: 1  2  3  4 :||
   Clap  ||: .   >   .  > :|| where > is a clap, and . Is a rest, ||: repeat :||

3. Listen for and add the grace notes for the shuffle beat over the PRE-CHORUS section:

Count | 1  2  3  4 | 1  2  3  4 | 1  2  3  4 | 1  2  3  4 |
Lyric   | Hold Me  | Love Me  | Hold Me  | Love Me  |
Clap   | .  >  .  > >| .  >  .  > > | .  > .  > > | .  >  . > > |


4. Using two kinds of loudness for your claps: soft (or piano), and loud (or forte), clap along to the song on every pulse with a soft clap, and add the rhythm we learned on top of it with a loud clap.

Count ||: 1   2  3  4  :||
Clap   ||:  ^   >   ^   > :|| where ^ is a soft clap, and > is a loud clap

Where there is no clapping in the song, just quietly keep the pulse internally and use a small quiet tapping or movement.

5. A Decrescendo of your loudness or dynamics. Clap along for the whole song again on beats 2 and 4, but this time, over 4 bars, gradually reduce the loudness of your claps from loud to soft.

Count | 1  2  3  4 | 1  2  3  4 | 1  2  3  4 | 1  2  3  4 |
Clap   |  .  >  .   > |  .  >   .  > |  .   >  .   > | .   >  .  > |

Loudness forte                                              piano

6. Do this again, only reverse the loudness of your claps from soft to loud; a Crescendo


7. Whenever you hear the single pitch of Ooo I need your love babe, Clap, sing or play it

8. Using your sense of pitch, rhythm, & loudness identify these parts of the song:


Download the exercise in PDF format for printing Ear Training I – 1vb0 (83 KB).

– Cf 4 Nov 2015

Releasing ‘JUPITER STORMS’ CD today

Fig. 1 'JUPITER STORMS' CD Album of Electroacoustic and Computational Feedback Synthesis, 22 Oct 2015, 11 Tracks, CD-DA

Fig. 1 ‘JUPITER STORMS’ CD Album of Electroacoustic and Computational Feedback Synthesis, 22 Oct 2015, 11 Tracks, CD-DA


A CD album of Electroacoustic and Computational Feedback Synthesis soundscapes released today 22 Oct. 2015, 11 Tracks by Campbell Foster.

Available to preview / purchase, tracks / album on:

For a physical CD-DA please contact the Researcher.

Tags: computer electroacoustic electronic experimental fractal soundscape Toronto

– Cf


All perceptible matter comes from a primary substance ~ Nikola Tesla

“All perceptible matter comes from a primary substance, or tenuity beyond conception, filling all space, the akasha or luminiferous ether, which is acted upon by the life giving Prana or creative force, calling into existence, in never ending cycles all things and phenomena.” – Nikola Tesla,“Man’s Greatest Achievement,” 1907



By Nikola Tesla.

WHEN a child is born its sense-organs are brought in contact with the outer world.

The waves of sound, heat and light beat upon its feeble body, its sensitive nerve-fibres quiver, the muscles contract and relax in obedience: a gasp, a breath, and in this act a marvelous little engine, of inconceivable delicacy and complexity of construction, unlike any on earth, is hitched to the wheel-work of the Universe.

The little engine labors and grows, performs more and more involved operations, becomes sensitive to ever subtler influences and now there manifests itself in the fully developed being–Man–a desire mysterious, inscrutable and irresistible: to imitate nature, to create, to work himself the wonders he perceives.

Inspired to this task he searches, discovers and invents, designs and constructs, and enriches with monuments of beauty, grandeur and awe, the star of his birth.

He descends into the bowels of the globe to bring forth its hidden treasures and to unlock its immense imprisoned energies for his use. He invades the dark depths of the ocean and the azure regions of the sky.

He peers into the innermost nooks and recesses of molecular structure and lays bare to his gaze worlds (unreadable) remote. He subdues and puts to his service the fierce, devastating spark of Prometheus, the titanic forces of the waterfall, the wind and the tide.

He tames the thundering bolt of Jove and annihilates time and space. He makes the great Sun itself his obedient toiling slave. Such is his power and might that the heavens reverberate and the whole earth trembles by the mere sound of his voice.

What has the future in store for this strange being, born of a breath, of perishable tissue, yet immortal, with his powers fearful and divine? What magic will be wrought by him in the end? What is to be his (unreadable) deed, his crowning achievement?

Long ago he recognized that all perceptible matter comes from a primary substance, of a tenuity beyond conception and filling all space–the Akasa or luminiferous ether–which is acted upon by the life-giving Prana or creative force, calling into existence, in never ending cycles, all things and phenomena.

The primary substance, thrown into infinitesimal whirls of prodigious velocity, becomes gross matter; the force subsiding, the motion ceases and matter disappears, reverting to the primary substance.

Can Man control this grandest, most awe-inspiring of all processes in nature? Can he harness her inexhaustible energies to perform all their functions at his bidding, more still–can he so refine his means of control as to put them in operation simply by the force of his will?

If he could do this he would have powers almost unlimited and supernatural. At his command, with but a slight effort on his part, old worlds would disappear, and new ones of his planning would spring into being.

He could fix, solidify and preserve the ethereal shapes of his imagining, the fleeting visions of his dreams. He could express all the creations of his mind, on any scale, in forms concrete and imperishable.

He could alter the size of this planet, control its seasons, guide it along any path he might choose through the depths of the Universe. He could make planets collide and produce his suns and starts, his heat and light. He could originate and develop life in all its infinite forms.

To create and to annihilate material substance, cause it to aggregate in forms according to his desire, would be the supreme manifestation of the power of Man’s mind, his most complete triumph over the physical world, his crowning achievement which would place him beside his Creator and fulfill his ultimate destiny.

Nikola Tesla
New York American — July 6, 1930


Inventor Creates new Fractal Chaotic Sound Synthesis, releases Video, CD, Papers

FOR IMMEDIATE RELEASE: 23 September 2015

Toronto Ontario Canada. A video demo of the new CD Album2 of Electroacoustic and Computational Feedback Sound Synthesis is released, ‘Slovakian Sky Watcher‘ from the album ‘JUPITER STORMS‘. Created by Inventor / performer Campbell foster with images by award winning filmmaker Jean-Pierre Joubert.

The soundscape track ‘Slovakian Sky Watcher‘ (6:46’) features an unrelenting drum beat sequence created using feedback synthesis. It expresses the inevitable, layered with strange sky noises recorded sounding like crowds screaming, the earths crust at a breaking point, and War of the Worlds meets Michael Jackson, with our Slovakian commentator interspersed.

Video images of soldiers marching in time, people looking up apprehensively, the fury of Nature, war and its weapons, and ultimately Nature triumphing over mans’ destruction makes a poignant statement reflecting our current world.

Vid 1. Slovakian Sky Watcher, 6:46′ col. w/ snd. 48 KB, HQ, track 1 from CD Album
JUPITER STORMS on Youtube at:

BIO: Campbell Foster is a Canadian Sonological Researcher, Inventor, performer, interactive systems designer, entrepreneur, and project manager. His Sonological Research directive is to discover, research, and promote the methods, æsthetics and results of Electroacoustic and Computational Feedback Synthesis. URLs: Sonological Research Blog RS4 –, Befriend the Researcher on Facebook –, YouTube/Peace4man –

    1. Slovakian Sky Watcher [Video] from the fall release CD album ‘JUPITER STORMS’, 6:46′. Available at: Slovakian Sky Watcher – (Youtube)
    2. About Campbell Foster: ‘Spacey music’, [Video] 5:08′, by Ontario Science Centre. Available at
    3. JUPITER STORMS [CD] Album available fall 2015 for artwork and bonus track see:
    4. “Origins of Form” (C.Foster, 2015), [Paper] Extended ABSTRACT. Available at:
    5. Press and Research Contact: Campbell Foster, Email: Camfos (at) gmail (dot) com

•      •      •


I present for your perusal, an extended ABSTRACT of my current paper “Origins of Form” (C.Foster, 2015) invited for consideration by the MIT Journal ‘Leonardo’ editorial board. My previous paper “Electroacoustic and Computational Feedback Synthesis” (C.Foster, 2011, CEC) outlines and demonstrates the methods and results of a new and unique sound synthesis method discovered.

Here the entire Abstract, with a PDF version is available for offline reading: Origins of Form 5vr1.PDF (5 pgs, 833 KB).

Origins of Form

by Campbell Foster
camfos (at) gmail (dot) com
Sonological Research Blog RS4,

Version 5vr2
16 September 2015

ABSTRACT (Extended)

Through the identification of emergent anomalous forms of Electroacoustic and Computational feedback synthesis soundscapes and visual (Spectrogram) outputs, and comparative research into Nature phenomenon, orb photography, sacred geometry, dark energy, and the subtle body energies, deep insights into form and its origins were discovered and are outlined here.

Form originates from the infinitely subtle (-infinity dB) to the most complex iterations (dBm) as complex sounds are iterated, grown, and multiplied into existence by seeding the feedback loop with a sound sample Emitter in the method of electroacoustic and computational feedback synthesis. Soundscapes are synthesized mechanically (Electroacoustically, with the Electroacoustic Sheet Metal Feedback Phone), and digitally (Computational, in real-time) by using the process or phenomenon of feedback in which some portion of the output of a system is returned to its input for the synthesis of sound1

The feedback synthesis (FBS) loop is chaotic (extreme sensitivity to initial conditions, cause and effect are not proportional, nonlinearity, topological mixing), and fractal (scalar self-similarity, irregularity locally and globally, emergence, turbulence, strange attractor and Iterative function system behaviours). Generated soundscapes and visuals (Spectrograms) exhibit fractal and chaotic outputs including forms generated from the topological mixing of all sound parameters; pitch, time, amplitude, and stereophony.

To identify the emergent forms generated by feedback synthesis, I looked to Nature to find similar morphologies. Where FBS produced pitch branching over time, I found branching in tree structures in Nature. Where FBS produced a constant rising of pitch, I found tree structure branches always rising upwards to lesser gravity. Where water sounds may be slowed down or sped up and sound fractally the same, I found FBS time stretching, amplification, and Spectrogram analysis to reveal scalar and self-similar micro-sonic detail. The gentle fractal curve of the outline of a leaf was similar to the amplitude envelope outline of frequency spectrum graphs of FBS outputs2.

Looking deeper into FBS and comparatively Nature, the retrograde investigation of smaller and subtler origins of forms, pointed always to a vector of a source origins realm, a generative scheme of infinite possibilities also embodied in the tabula rasa feedback system loop energized by amplification (expansion) with the potential to generate sonic and material objects through iterative growth. All forms traced and pointed back to a profound iterative source origin, made fractally of itself, smaller and finer elements reduced to atomic particles then further to the energetic and non-particlulate realms, finally to pre-material and pre-energetic realms, the unpercievable realm of the unseen worlds of dark matter, chi, expressed in the manifestation of Nature, the bodies’ subtle energies, space, time, energy, matter, and the primary forces.

With the cosmological accounting of the weight of the universe, we found that Dark energy constitutes 68%, and Dark Matter 27% of the unpercievable cosmos. All matter and particles makes up only 5% of the total universe3. One characteristic of this dark (unseen) energetic realm is the accelerated expansion of space in all directions. This exemplifies some primary characteristics of this ream; transcendent quantities, expansion, emergence, growth, the manifestation of space, and therefore time and the material.

We can directly experience the nature and outcome of this ‘pre-aetheric’ realm as life-force, chi energy, or dark energy which exists in all matter and especially organic living objects and bodies. It is sensed through the subtle body energies, meditation, and the deep emotions (beliefs), the faint and attractive emergent energy of our being, the formation of cogent thoughts in the moment of consciousness experience of it, and the positive growth and energetic management of our bodies as systems, driven by this realm and resulting life forces. Nature, life, and our being, are direct expressions of the characteristics of this primary realm.

Through the practice and experience of Qi Gong, Reiki, Accupuncture, meditation, and mindfulness, for example, we can cultivate, manipulate, and direct these subtle body and unseen universal energies outcomes (both internally and externally) for medical, martial, and spiritual benefits to the individual. This realm transcends form, space, time, matter, and energy, though is not yet directly measurable in a scientific way. Due to its infinite character, it can only be experientially validated through our interaction with it, observed as the outcomes, behaviours, and forms of Nature, and our own expression of being experienced through consciousness and life.

The double-slit experiment of quantum mechanics proves that the mind (and body) are able to externally effect energy and matter and congeal probablilities of electromagnetic energy into discrete photons of light, our consciousness working in this timeless, formless, quantum realm.

Abberrations to photons an low light level phenomenon were observed and captured on film in series of orb photographs. Orb forms (fig. 1) were captured using HDR (High Dynamic Range) photography taken using a flash in large ambiently lit atriums capturing performer and audience created light traced spherical orb shapes. On processing, subtle orb based geometric forms appeared with an apparent spatial connection to the performers. This appears to be photonic disturbance created by the consciousness of the performer projecting their observation into this unperceived realm, collapsing probabilities into photon particles. A imprint in reality was created by the performer (and energetically contributed to by the some audience members) when playing and projecting their conscious intention and instruments’ sounds into a performance environment, emerging from the quantum realm to create subtle photonic disturbances with sacred geometric attributes.

This elusive and imperceivable universal singularity, unmeasurable and pre-empting the manifestation of energy, force, space, time, and matter, emerges first with; the perfections of sacred geometry, pure atomic and crystalline structures, the perfection of mathematics, the fractal geometry of nature5, life form structures, harmonic and fourier relations, the primary geometric forms and organizations found in nature, being and consciousness, and the known existential universe.

Orb Photograph, OSC Star Party 2012, C.Foster Author

Fig. 1 Orb Photograph. Introduction to the live soundtrack performance to the film “A Trip to the Moon (1902)”, Ontario Science Centre. Note the orb, a perfect 7 layer low light level photonic aberration existing at the exact point that I projected an intense verbal and visual depiction, hands tied with headset gear, and energetically added to by audience members. The Electroacoustic Sheet Metal Feedback Phone is shown to the left of the author.

Sacred Geometry is a term used to describe patterns, shapes and forms that are part of the make up of all living things and that regularly occur in nature. It is system of universal design in which the energy of creation organizes itself into form.

More validation of this realm emerged with various sized Pyramids, designed and constructed to sacred geometry dimensions, and operating on a pre-aetheric level, to collect and amplify biocosmic life energy (Dark energy, Chi) through their inherent shape perfection and Phi dimensions. Some proven effects; enhanced plant and animal growth, food taste enhancement and preservation, razor blade sharpening, direct experience of higher levels of life-energy, and positive healing results6. The Pyramid energy is all positive with documented effects and is greatly amplified using large ring magnets, and Tesla bifilar coils incorporated into the structure and design.

Nanographene Molecule, IBM Zurich Research 2012

Fig 2. A nanographene molecule, exhibiting atomic bonds in green, denser areas of the atom in red. “Bond-Order Discrimination by Atomic Force Microscopy”, IBM Zurich Research 2012. Available at

Observation and practice continued to point to finer and subtler source origins in the investigations of Electroacoustic and Computational feedback synthesis, Nature, orb photography, sacred geometry, dark energy, and life energy. Complex sonic forms exhibiting fractal similarities to the low amplitude and short duration Emitter seed samples generated iteratively, formed a vector of ever decreasing amplitudes reduced to the imperceivable. In the upward and cumulative direction, a manifestation of increasing complexity and scale of form, we observe the character of this subtle ultimate originating ream in its infinite manifestations of the primary forces, nature, energy, sound, matter, space, and time.

Analysis of form from the complex composite material, to the finer atomic, then finer energetic and force origins, point to an even subtler quantum realm and unseen omnipresent pre-medium, infinite in quantity, space, time, and pre-empting material manifestation. Expressed in the forms of Nature and its fundamental forces, prana, Qi, matter, space, time, and energy, life energy. It is unmeasurable, and experienced by the human body on a profound being and consciousness moment, giving and sustaining life, with workable interactions, pre-existing in all forms of matter, space, and time, expressively and theosophically called Spirit, and relationally and experientially called love7.


  1. Foster, Campbell. “Electroacoustic and Computational Feedback Synthesis”, TO Canada, 2011. Available online at: [Last accessed 11 September 2015].

  2. Ibid. Figure 14. Frequency response graph of feedback sound generated with a tuned loop (Kennedy’s Journey).

  3. Dark Energy, Dark Matter, NASA Science | Astrophysics. Available online at: [Last accessed 12 September 2015].

  4. The Fundamental Forces of Nature, University of Tennesee AstroWiki. Available online at [last accessed 11 Sep 2015].

  5. Mandelbrot, Benoit B. The Fractal Geometry of Nature. W.H. Freeman & Co. Ltd., 1977.

  6. Russ, Michael. HEALING PYRAMID ENERGY, 108 pgs. Available online at: [last accessed 12 Sep 2015].

  7. UNIVERSI AMORIS (All Love). [MP3] 11:56′, 16.3 MB, Snd. 1. Soundscape descriptor created using Computational Feedback Synthesis by the Author, 2015. Available online at: [Last accessed 12 September 2015].

– Cf Sep. 2015, Toronto ON Canada



Campbell Foster
Electroacoustic and Computational Feedback Synthesis

Oct – Sep 2015 Release

JUPITER STORMS CD COVER 5v2b, 1121 x 572 px, 485 KB, [JPG]

Campbell Foster — IDENTIFY

Snd. 1 Track 7 “IDENTIFY” – JUPITER STORMS, 00:09:27, [MP3] Stereo, 192 KBPS, 13 MB, IDENTIFY

IDENTIFY represents my most current æsthetic and technological research work, excerpts of which are presented in my paper “Electroacoustic and Computational Feedback Synthesis” for TES 2011. The piece arose from an experiment in seeding a computational feedback system and loop. In order to enable system intelligently generated sound phenomenon for further study, a non-interferential approach to the generation and observation of sound phenomenon is used to avoid quantum observational effects and Unintended Consequences.

Listen for Topological mixing of all sound parameters including stereophony, the female voice as Emitter seed value, the Star Trek transporter sound (3:35), Blade Runner soundtrack (8:02), Pitch walkabouts in an overall upward direction, and the interrelated systems behaviour of sound attributes producing fractal sound phenomenon from the tabula rasa feedback loop.

– Program notes & piece premier at Toronto International Electroacoustic Symposium 2011,  TIES 2015 — Toronto International Electroacoustic Symposium (TIES),

– Paper “Electroacoustic and Computational Feedback Synthesis”, C.Foster 2011, CEC, eContact 14.4,

Cf, Toronto ON, Canada



pegasus b&w 2

Pegasus, by John McKenna, Brick Relief sculpture. Pegasus is an ancient Greek mythological figure called to bring lightning and thunder from Olympus, opened the spring of Hippocrene with a single stroke of its hoof, and ridden by Bellerophon vanquished the monster Chimera.


JUPITER STORMS Album and Tour Fall 2015

Fig. 1 JUPITER STORMS CD and Tour Fall 2015

Fig. 1 JUPITER STORMS CD and Tour Fall 2015

# Track Name Duration
1 Slovakian Sky Watcher 00:06:46
2 FBS IMAX Test v4 00:06:36
4 Galaxy Zoom 00:01:48
5 A Trip to the Moon (1902) exerpts 00:02:30
7 “IDENTIFY” 00:09:27
8 CAGESPACE – Digeridoo & Ambiance 00:02:39
9 Drum Beat Grower 00:01:45
10 Time Drift X – XTRM UNIVRS 00:05:12
11 Space Ambience – INTER SPACE 00:03:22

~ Campbell Foster 2015



Fig. 1 Frequency Spectrum UNIVERSI AMORIS 11:56′ 4092 point.

Snd. 1 UNIVERSI AMORIS from the CD album ‘JUPITER STORMS’ and upcoming JUPITER STORMS TOUR 2015. [MP3] 11:56′, 16.3 MB, Open or Download UNIVERSI AMORIS [MP3].

UNIVERSI AMORIS (L. All Love) soundscape bed is generated using Feedback Synthesis techniques. The sound source ’emitter’ is a forest with rain sample.

Sound pitch, time, loudness, stereophony, and reverb are grown using Computational Feedback Synthesis.

A final mastering component of exponential expansion (also a feedback technique) multiplies amplitude to conform more closely to the our biomechanical hearing systems where stimulus is the logarithm of sensation.

– Cf 20 April 2015, Toronto ON Canada

GUITAR CHORD DIAGRAMS, Major, minor, 7th

Fig. 1 GUITAR CHORD DIAGRAMS, Major, minor, 7th (1222 x 1743 px, 79 KB)

Fig. 1 GUITAR CHORD DIAGRAMS, Major, minor, 7th (1222 x 1743 px, 79 KB)

For my students of the GUITAR MASTERY COURSE, and guitarists (acoustic and electric), here are chord diagrams for all the Diatonic chords; Major, minor, and 7th.   There are other voicings and hand positions to play these chords, shown are the simplest.   Download / open the PDF for printing.     Practice makes perfect sense.

– Cf


Fig. 1 ROOSTER JAM II Poster [JPG], 1190 x 1684 px, 1.49 MB

Fig. 1 ROOSTER JAM II Poster [JPG], 1190 x 1684 px, 1.49 MB


with the fine acoustic guitars and rousing voices of


Wednesday, 8th April 2015
5:00 PM to 7:00 PM

Rooster Coffeehouse
479 Broadview Avenue, Toronto, ON, Canada

Come and sing along with the best coffee in Toronto

Songs by

Neil Young, Creedence Clearwater Revival, Bob Dylan, Led Zeppelin, Marvin
Gaye, Bryan Gauer, Joan Baez, Simon and Garfunkle, Emerson Lake and
Palmer, Jimi Hendrix, Gordon Lightfoot, Peter Frampton, Moody Blues, Bon
Jovi, The Beach Boys, The Mamas and the Papas, Leonard Cohen, The Beatles.



1. ROOSTER JAM II Facebook Event,


A Body of Light [Piece]

NIME 2015 Installation & Performance Submission
A Body of Light for Container-Phone, and Operators 1 to N
by Campbell Foster Et. Al., 11 Dec 2014

When we have shuffled off this mortal coil, (Shakespeare, Hamlet)

A Body of Light for Container-Phone, and Operators 1 to N, by Campbell Foster, Dec 2014

Fig. 1 A Body of Light for Container-Phone, and Operators 1 to N, by Campbell Foster, Dec 2014


A Body of Light examines this mortal coil, individual and group interactions upon an instrument / body as container / modifier for subtle quantum energies, amplified and directed into a trumpeting cry of existence in sound and light.

The group interactive outdoor installation / performance appropriates a large metal disposal container (8W x 4H x 12L feet), built up with amplification, isolated microphones, external analog and computer processing using electroacoustic and computational Feedback Synthesis to create a large scale group playable chaotic feedback system instrument.

The Electroacoustic Sheet Metal Feedback Phone is incorporated inside the large metal container system instrument as a chaotic controller, in addition to any haptic interactions with the metal container by 1 to N operators of the ‘Container Phone’.

Attendees may interact and perform on the LSI (Large Scale Instrument) during the daysof the concert. At night the chaotic feedback system instrument is to be filled with light from 6 stage lights, the container resounding in a continuous metallic resonance, bright light beaming into space, calling out to other galactic and stellar bodies of light.

Because the Container Phone and feedback synthesis method exhibit the interactive qualities of a chaotic system, including a high sensitivity to initial conditions, the large scale instrument can be interactively played by one or more Operators with noticeable sonic results. This means that one or any number of individuals in a group (1 – n) can touch and play the Container Phone which responds greatly to quantum haptic system perturbations.

The method and installation was applied successfully to the large Oppenheim sculpture and rusted trucks of the Historic Distillery District in KATA-STROPH, for Still Horn, Truckophone, Flatbedonator, Signalperson, and operators, Nuit Blanche (2011).

Status: Proposal not accepted.


1. KATA-STROPH @ Futurism Today or NOT! (Nuit Blanche, C.Foster Et.Al 2011),


KATA-STROPH @ Futurism Today or NOT!

October 1, 2011 – October 2, 2011
Oct 1, 2011 at 7:00pm to Oct 2, 2011 at 7:00am

STILL HORN System Diagram 2pr

Fig 1. The STILL HORN System Instrument, KATA-STROPH, Futurism Today or NOT!, Nuit Blanche, 1 Oct 2011, Nuit Blance, The Historic Distillery District, Toronto On, Canada, built up to a large scale chaotic feedback synthesis instrument from the sculpture “Still Dancing” (Dennis Oppenheim 2010) and incorporating the Electroacoustic Sheet Metal Feedback Phone

An interactive Futurist event appropriating the sculptural objects of the Distillery District as Instruments in the Industrial noise-art installation orchestra playable by the Operator / Performers and the participants 1 x 1. We created an electro-industrial orchestra: the STILL HORN, the FLATBEDONATOR, the SIREN, the ELECTRO-ACOUSTIC SHEET METAL FEEDBACK PHONE, and the TRUCKOPHONE. A Futurist Manifesto Sound of industrial noise and objects with modern electronics, the instruments can be played by the participants and/or the operators throughout the Futurism Today or NOT! event. There will also be the premiere of the new composition performed by members of the Nouveau Futurist Art of Noise group in a special late night concerts at 10pm, 12:30am and 4am.

Slides 1-30. KATA-STROPH 60 Photos by Tony Massil, 1-2 Oct 2011, Nuit Blanche, Historic Distillery District, Toronto ON, Canada

Slides 31-60. KATA-STROPH 60 Photos by Tony Massil, 1-2 Oct 2011, Nuit Blanche, Historic Distillery District, Toronto ON, Canada

The Nouveau Futurist Art of Noise Group is a collaboration between Electricity is Magic (Matt Griffin & Eric Powell) and Campbell Foster (Chief Feedback Officer), with performance assistance by a number of artists from Toronto and beyond. This project would not be possible without the generous support of Futurism Today or NOT!, The Speaker Shop, 5th Element Events, The Distillery Historic District, and Luigi Russolo – Futurist.

KATA-STROPH ticket lg

Fig 3. Ticket, Poster for KATA-STROPH, 2011 Toronto Canada

Score KATA-STROPH Cf2011

Fig 2. Score of KATA-STROPH piece with performance instructions, Cf, October 2011

“KATA-STROPH” for the the Industrial Futurist Noise Orchestra (IFNO) (35 min) and its instruments and Operators / Performers:

The STILL HORN Feedback System Instrument [the Electro-acoustic Sheet Metal Feedback instrument integrated] Operator / Performer – Campbell Foster

Signal and whistle man, SIREN Instrument, and Conducting by: Matt Griffin

Operator Performers:

Matt Griffin – Signal Person / flagman, Operator / Performer FLATBEDONATOR,
Campbell Foster – The STILL HORN [incorporating the Electro-acoustic Sheet Metal Feedback phone]
Lee Blalock – Operator / Performer / Signal Relay (Flags / TRUCKOPHONE)
Davy Bisaro – Operator / Performer / Signal Relay (Flags / FLATBEDONATOR)
Tony Massil – Photographer, Videographer
Tyler Hagan – Operator / Performer / Signal Relay
John Puchiele – SignalPerson, Whistle, SIREN instrument, TRUCKOPHONE

An unless otherwise notified to accomodate other activities of some of the 26 artist in the Distillery District, there are three shows:
KATA-STROPH – 35 min, shows at 10:30, 00:00 midnight and 4:00 AM

Of course, Participants can play the Instruments of the Industrial Futurist Orchestra when not in a performance of KATA-STROPH.

Futurism Today or NOT!

The Future Today or Yesterday!

1’590 Seconds to KATA-STROPH


  1. Facebook Event, KATA-STROPH @ ‘Futurism Today or NOT!’ curated by Thom Sokoloski,
  2. Electroacoustic and Computational Feedback Synthesis (C.Foster, 2011),

~ Cf

Feedback Synthesis Soundscape [MP3] Selected by ICMC-SMS Pt. 2

Fig 1. Waveform TIME DRIFT X - XTRM UNIVRS, 1161 x 602 px, 59 KB, PNG 8, Note the optical illusion of the waveform green colors appearing to be different shades, but are identical due to background variations.

Fig 1. Waveform TIME DRIFT X – XTRM UNIVRS, 1161 x 602 px, 59 KB, PNG 8, Note the optical illusion of the waveform green colors appearing to be different shades, but are identical due to background variations

Snd 1. TIME DRIFT X – XTRM UNIVRS [MP3] 5:12′, Stereo from 6.0, 32 Bit float, 224 KBPS, 8.3 MB, Download / open, TIME DRIFT X


‘TIME DRIFT X’ soundscape bed master for ‘XTRM UNIVRS’ electronic music suite section created using 3 operator Computational Feedback Synthesis for a live outdoor ambient interactive electroacoustic and computer music performance composition, projected video and sound commissioned for the Ontario Science Centre Star Party ‘Extreme Universe’ 12th July 2013 and premièred in the amphitheatre at OSC under the stars.

‘XTRM UNIVRS’ explores our connection to the universe through inner space at the extreme quantum power of our energetic potentials to create and explore. From our physical connection to the stars’ matter generated at its core, to the farthest reaches of our imagination lingering on the extreme edges of infinity.

Note the Topological Mixing of all sound parameters; Pitch, Time, Dynamics, and Stereophony, characteristic of this IFS chaotic system.


1. Feedback Synthesis Soundscape [MP3] Selected by ICMC-SMS –


Feedback Synthesis Soundscape [MP3] Selected by ICMC-SMS

Fig 1. Spectrogram of 'FBS IMAX Test' + Waveform [JPG], 1270 x 638 px, 339 KB exhibiting quantum tonal lock.

Fig 1. Spectrogram of ‘FBS IMAX Test’ + Waveform [JPG], 1270 x 638 px, 339 KB exhibiting quantum tonal lock.


Soundscape ‘FBS IMAX Test’ and ‘Time Drift X’ were both selected for listening at the joint International Computer Music, and Sound and Music Computing Conference in Athens, Greece September 2014 (Joint ICMC – SMS 20141.

In order to facilitate distribution, I am releasing this track in standard MP3 format with the option to purchase the CD quality 320 kbps MP3 file on this site for a nominal amount.

FBS IMAX Test Soundscape [MP3]

Snd 1. FBS IMAX Test [MP3], 6:36′ m:sec, Stereo composite from 6.0 IMAX, 192 Kbsec, download / open FBS IMAX Test 192 kbps [MP3]

Here is an attempt to create a completely self-generated iterative fractal type of sound which utilizes a non-interferential method of playing (using the butterfly effect) and relies on the iterative intelligence of a three point computational feedback loop using feedback synthesis techniques, resulting in interrelating parameters of sound including pitch, amplitude, tempo, melody, tone colour, voicing, form, and rhythm, exhibiting topological mixing of all of these parameters, and natural fractal effects of scale and self-similarity.

 Some interesting sound and sections in the resulting soundscape (min:sec’):

  • Show intro crazy organist riffs – 0:00’
  • 10,000 more organists show up – 1:50’
  • Micro fractal sonic embellishments – 3:10’
  • Seventh Chord stated in sonic parameter topological mixing – 3:33’
  • Iterative fractal Melody, repeated with multiple voicing – 4:00’
  • Melody interrupted by a car horn, then more cars, then a traffic jam – 4:14’
  • A coda of some natural fractal sonic parameters jamming about and interrelating – 5:43’

The ‘Emitter’ driving the Feedback Loop is a female voice sample loop 2.13 seconds in duration. Amplitude of the Emitter is approx -95 Dbm. Feeding the loop at these low levels produces thematic resulting sonic phenomenon, grown iteratively in the FBS loop to signal amplitudes and related to the Emitter, exhibiting the parametric vectoring, and topological blending of all sonic parameters.


  1. Soundscape entry for ICMC | SMC 2014 Joint Conference, September 14-20, Athens, Greece –
  2. “Electroacoustic and Computational Feedback Synthesis” – CEC (C Foster, 2011) [Available at]
  3. Feedback Synthesis Soundscape [MP3] Selected by ICMC-SMS Pt. 2 –

~ Cf Toronto ON, 3 Feb 2015


Magnetic Flux Lines as Aether Interference Patterns


Magnetic Flux lines around the north and south poles of a bar magnet are created and depicted here from the interference pattern of two radiant starbursts at each pole and multiplied diagramming the point radiant aether originating in the dark matter quantum realm.

Fig 2. Magnet0873.png ‎(444 × 298 pixels, file size: 105 KB, MIME type: image/png)

Fig 2. Magnet0873.png ‎(444 × 298 pixels, file size: 105 KB, MIME type: image/png)

The magnetic field of a bar magnet revealed by iron filings on paper. A sheet of paper is laid on top of a bar magnet and iron filings are sprinkled on it. The needle shaped filings align with their long axis parallel to the magnetic field. They clump together in long strings, showing the direction of the magnetic field lines at each point (1913, WikiCommons).

– Cf 29 JAN 2015


Michael Faraday Quote

“But still try, for who knows what is possible …” ~ Faraday

Michael Faraday Quote

Fig 1. As quoted in The Life and Letters of Faraday (1870) Vol. II, edited by Henry Bence Jones, p. 483; also engraved above the doorways of the Pfahler Hall of Science at Ursinus College in Collegeville, Pennsylvania.


  1. Michael Faraday (22 September 1791 – 25 August 1867) was an English chemist and physicist (or natural philosopher, in the terminology of the time) who contributed to the fields of electromagnetism and electrochemistry. Source: Michael Faraday – Wikiquote,,


Drum Beat Grower [MP3]

Snd. 1 Drum Beat Grower [MP3] (1:45′, 2.4 MB), Dwnld: Drum Beat Grower 6vb0 .mp3.

Using feedback techniques applied to a sequenced 6 sample drum two bar phrase, pitch, dynamics, and timbrel variations add natural elements to a static beat. Some feedback reverb floats in the background.


Fig. 1 Traditional Chinese Drum


Fig. 2 Drum Beat Grower WAVEFORM [JPG]