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Poltergeists Explained


Poltergeist (1982) is a memorable supernatural horror film from co-producer/co-writer Steven Spielberg who teamed with director Tobe Hopper. It was Spielberg's first smash hit as a co-producer.  This opened a whole new world in paranormal activity, which in turn brought to life people accounts of real Poltergeist activity.


 The Poltergeist Experience:


Many reports which have been made from people who claim that some form of Poltergeist experience has taken place at some point in their lives, but yet this still needs to be proven that activity like this exists. With today’s technology and the use of digital imaging along with the internet, a lot of reports are made up fictitiously. Which make the story’s even harder to believe.


In poltergeist cases, typical reported disturbances include strange noises, knockings, and objects moving about as if under their own power. Objects have been reported to fly about in bizarre trajectories, to crash to the floor and break, to break or shatter in place, and to disappear and reappear, sometimes in different locations. Beds are sometimes reported to shake and furniture to rearrange itself. In more rare cases, small, innocuous fires have started, water droplets or bursts have fallen from nowhere, stones have pelted homes, and vague apparition-like forms have been seen.


With the exception of rare lengthy cases, poltergeist phenomena generally last from two to six weeks (short term 1 week, long term about 18 months). Cases are nearly always reported in homes, offices or workplaces – wherever a dynamic of human interaction takes place. Poltergeist activity, with its connection to unresolved stress, appears to be a rare form of stress relief. Instead of the stress releasing itself in "normal" ways, the agent unconsciously "blows off steam" with the PK activity. Patterns found in the disturbances are generally symbolic and can give clues as to the identity of the agent and the nature of the unresolved stress. Often object and area focused activity occur whereby the disturbances tend to stay with certain forms of objects or in certain locations in the physical environment. The disturbances often appear as metaphors to the causes of stress. For example, sexual tension may be released through causing the bed to shake. Anger towards a certain person may be released by the agent causing items belonging to the target person to break.


The rare outbreak of small fires may be associated with a general release of anger, whereas water is more often associated with grief (as in tears not being physically shed). More unusual cases involving guilt have resulted in the agent actually giving him/herself a psychokinetic "self-beating" displayed by the spontaneous manifestation of bruises or other marks of physical punishment. Other very rare poltergeist cases have involved sightings of apparition-like forms. These are not thought to be true apparitions (or ghosts – a consciousness operating outside of or after the death of his or her physical body). Rather, they are thought to be unconscious projections from the mind of the agent that are "picked up" telepathically by people associated with the agent (and of course, by the agent as well). These apparitional forms are often not human in appearance (in contrast to ghosts), and may even look like an archetypal "monster." As frightening as they may appear, these mental projections are harmless and are simply a reflection of the agent's inner psychological "monsters or demons." As with the physical activity, they are often a metaphor for the mental and emotional stress the agent is experiencing.


More subtle forms of poltergeist activity involve micro-effects whereby the agent mentally, though unconsciously, affects the functioning of technology (these are effects that occur throughout our lives). It is now known that technology such as watches, computers, telephones, photocopiers, etc. are apparently susceptible to PK. Similar to the large scale poltergeist effects, these micro-effects appear to be a form of stress-relief or a reflection of the mood of the agent, and the type of effect is often a clue as to the nature of the stress.