Good evening, following several comments asking how I choose the transcription and how I carry it out, I am going to lay out every stage so you can form your own opinion on the work done here.
I try, as much as I can, to stay clear of any message I might want to put across. I approach the raw texts with as much distance as possible and, on the other hand, when whole sentences come to me as I enter into the understanding of them, I let them write themselves (even if most do not stay as they are in the final message)
Of course, there will be some six or seven versions between the moment I begin the work and the moment I pass it on to you. My finishing point is when the pendulum shows me 100% correspondence with the initial message and 100% agreement that the plant is satisfied with the transcription of its message. But know that, in spite of this, for me several realities can exist at the same time. So I do not believe this is the only possible transcription. But it is 100% true and that is my guiding principle.
You have to understand that the U1 device from Damanhur makes it possible to translate the movements of sap (in the case of a tree) or lymph (in the case of a plant) into digital messages (MIDI). As if we were giving the plant a piano, which it can then learn to use until it masters the device rather well. The difficulty for it is that it works more as though in a basin that it fills with water and empties. So going from a word at one end of the keyboard to the other demands an effort and a mastery from it which mean that in the end, after three years of working together, our way of operating has moved towards a mutual management of the messages. While waiting for Hans Otto Koenig to be willing to create a device for communication with the plant world, as he has done so brilliantly for Instrumental TransCommunication (ITC). By doing my part, I allow it to communicate a great deal of information with as few words as possible, and to do so while taking it into account, taking into account the energy this costs it.
This device connected to the tree or the plant (by two electrodes, one near the roots and the other on a leaf) combined with a computer and a program for managing MIDI keyboards (at home I use Mainstage from Logic Pro), lets me create keyboards where I record words that I then place at their disposal. I am not going to discuss here whether the plant or the tree knows what it is doing when using these keyboards, a thousand testimonies on the page of Le Chant des Plantes (the song of the plants) will show you it does, and so will current scientific studies. But know that, being Cartesian by nature, I ran many experiments before deciding to share these messages with you. [I refer you to the Grand Rex video where you hear the plant give a message at the end of the talk (around 15 min) and where it is quite clear that the words chosen by the plant are more than apt]
At the start, it is a matter of recording the plant or the tree in audio as soon as I hear it select the word keyboard. Sometimes there are only a few words, but most often when they decide to choose that keyboard, it means there will be a message. An important message to transcribe.
Once the recording is done, in a second stage, I listen back to it, note the time and the length of the recording precisely (audio recording on the computer makes this task easy and reliable) and try to mark the break points (full stops, commas, and so on) to start seeing a meaning emerge. That is what you find marked with the two slashes like this “//”. I have since added a difference between the full stop and the comma, and even the line break, so the code is 2 slashes “//” for commas and 3 slashes “///” for full stops (full stop, question mark, exclamation mark or semicolon) and four slashes “////” for line breaks.
I also note the words that are not said clearly, that is, where the plant did not stay long enough on the note for the word to be said completely. By convention, in our work, a word that is not said in full does not count (with exceptions… I check that with the pendulum too). You find them in the raw text in the form “The fragment of the word said… (the whole word)”
I attempt a first reading. Just to soak it in.
Then I go over the whole text again with the pendulum, asking it to show me where the full stops and the commas are. In general, they do not fall on the pauses taken by the tree or the plant. But it sheds a great deal of light on the message. At the same time, I check that the words not said in full are to be set aside, again with the pendulum.
The great difficulty is that the plant can only use 54 words (See the article on word keyboards), so all the subtleties of language have to be translated. Luckily for me, I know every word available to it, so I can tell the difference between the words it does not have and those it does, which is already a good working angle and avoids a few pitfalls. Despite these few words, the plant is truly inventive.
For example, we have in the messages “Végétaux-Soleil” [Plants-Sun] to say “Arbre” [Tree] as opposed to “Végétaux-Humains” [Plants-Humans], the indoor plants. So it makes word associations which, once understood, will be reused in the following messages.
Afterwards, depending on the ideas taking shape in the text, I try to find out whether, in using a given word, it means that word or a derivative or else a nearby idea that it does not have elsewhere on the keyboard. Example: in the last message, the word “Dessiner” [To draw] comes back often. In fact it stands for “rêve” [dream] or “imaginaire” [the imaginary]. When the derivative is complicated or when I cannot find the meaning, I ask the pendulum, working with a wheel of letters to find precisely the words the plant meant to say.
After that, I write the message. Sometimes I keep the plant connected. It can help me too, by saying “yes” or “no” or other codes we have between us. For example, going very high into the treble is a sign of unease, so if I am in the middle of transcribing a sentence and the plant goes up into the treble, I am going to call what I am writing into question straight away, check with the pendulum, and so on.
Once the first definitive version is finished (when the pendulum shows between 80 and 90% accuracy in the message), I have it read by my partner, who knows plants well and has followed my work from the beginning. Her insight is often very instructive and lets me rework the precision or spot a misreading I had not even seen.
Finally when I reach 100% accuracy for the message thanks to the pendulum, I have Claire, my partner, read it over one last time, and if she approves it, I put it online.
There you are, I hope this will have helped you understand how we go about it.
Warmly,
