Ethereal Almost Ghostly Quotes

When the full moon was out the other night, it created one of the most spectacular scenes that I have seen in the Alps. The high glaciers of the Mont Blanc range were glowing an eerie bright blue-white, and they looked like huge ghost ships in the dark ocean of sky, sailing amongst black mountain valleys. There were no clouds, and the moon was a huge and perfect disc tracking across the sky, shining on different parts of the glaciers through the night. Looking up, I saw the black silhouette of the mid-altitude mountains below the ethereal shining high-mountain terrain, which created a weird vision: the ghostly glaciers floating, and appearing separate, contrasting sharply with the dark valleys beneath. The Aiguille Verte especially, being so steep and isolated, seemed almost like a holographic mast with sails, plowing into the rolling waves, chasing after the Mont Blanc summit with its billowing spinnaker...

In particular, if consciousness is an ontological fundamental-that is, a primary element of reality-then it may have the power to achieve what is both the best-documented and at the same time the spookiest effect of the m ind on the material world: the ability of consciousness to transform the infinite possibilities for, say, the position of a subatomic particle as described by quantum mechanics into the single reality for that position as detected by an observer. If that sounds both mysterious and spooky, it is a spookiness that has been a part of science since almost the beginning of the twentieth century. It was physics that first felt the breath of this ghost, with the discoveries of quantum mechanics, and it is in the field of neuroscience and the problem of mind and matter that its ethereal presence is felt most markedly today.

For me, radio was a space for reflection. On the air, I submerged myself in music and literature. I listened along with my audience; I read to myself and to them, I discussed all kinds of ideas with total strangers. It was the perfect medium: intense, warm, interactive, and highly volatile. From my very first session in the broadcast studio, I felt like I was in a time capsule, a sensory-deprivation chamber. It was a protective bubble where nothing and no one could touch me. The semidarkness, the illuminated panel, and the on-air light combined to create a cozy, womblike environment, a sort of cosmic solitude. I had the sensation of floating in space, completely isolated from the real world. My only human contact was with the disembodied voices of callers. Everything seemed dusted with an ethereal—yes, I'll say it—ghostly quality. I could touch and hear the whole world, while no one could be sure of my existence; I was just one more voice in the teeming concert of hertzian waves. It was a land of the blind, where we were guided by sounds and voices, and space took the shape our words gave it. We transformed it with every description, comment, insult, or digression. It was almost like death, floating aimlessly at night, listening to spectral voices that in turn spoke about specters, indifferent to their own condition.

Snow managed to build his mastery of this embryonic field almost entirely through research conducted in his own home. He maintained a small menagerie in his Frith Street quarters — birds, frogs, mice, fish — where he spent countless hours watching the creatures' response to various dosages of ether and chloroform. He also used his medical practice as a source of experimental data, but was not above using himself as a test subject. There is something wonderful — and more than a little ironic — in this image of Snow the teetotaler, arguably the finest medical mind of his generation, performing his research. He sits alone in his cluttered flat, frogs croaking around him, illuminated only by candlelight. After a few minutes tinkering with his latest experimental inhaler, he fastens the mouthpiece over his face and releases the gas. Within seconds, his head hits the desk. Then, minutes later, he wakes, consults his watch through blurred vision. He reaches for his pen, and starts recording the data.