If this user has been harassing you, and you shadow-ban them, all their activities on your content will be invisible to everyone except themselves.

They will not know that they have been shadow-banned, and the goal is that eventually they will get bored while having caused no harm, since nobody saw what they posted.

This operation will reload the current page. If you have any unsaved information in a form, it will be lost.

You can also dismiss this window, and your operation will be applied at the next page navigation.

This operation cannot be undone!

When you report abuse on some content on AstroBin, the content will be hidden until a moderator reviews it. Abuse reports are anonymous and the content's owner will not be notified.

Please specify a reason for this abuse report.

- Remote Viewing (Tangerine Dream); probably one of the most mysterious pieces of music ever created.

D.C. / Danny C. / Danny Caes / Danny J. Caes / Danny Jules Caes.
°28 February 1964, slightly southwest of the city of Ghent (East Flanders) Belgium (Sint Denijs Westrem). The same birthday as Djamolidine Abdoujaparov. Very quickly the very young Danny C. was "under the influence" of space-related topics, especially during the second half of the sixties when NASA was about to perform mankind's greatest adventure (the manned landings on the moon!). During his days at kindergarten he wanted to hear the latest news from NASA, but... alas... was forced to listen to fairytales (little red riding hood, her grandmother, and some wolf) (silly isn't it?). A very bad and troublesome pupil at school (always daydreaming about space, spaceflight, "space music" (electronic "tonalities" such as those from Louis and Bebe Barron in the classic sci-fi movie Forbidden Planet), space girls, such as the SHADO girls of Gerry and Sylvia Anderson's U.F.O. TV series, especially Gabrielle Drake as Lieutenant Gay Ellis, Andrea Dromm as STARTREK's Yeoman Smith, Sally Knyvette as BLAKE'S 7's Jenna Stannis, and also Anita Pallenberg as the Black Queen (Great Tyrant of Sogo) in Roger Vadim's BARBARELLA, and, in a certain way, also Natalya Bondarchuk as Hari, in Andrei Tarkovsky's SOLARIS. His toys were all spaceflight related: little rockets, little lunar landers and crawlers ("Grippidee Gravidee", you remember?), little astronauts, jigsaw puzzles showing Apollo photographs, etcetera... etcetera...
Didn't want to play soccer (Oooooh! That was very unusual for a boy age 6 !).

His very first experience with electronic "space music" must have been Norman Greenbaum's 'Spirit in the Sky', in which he heard the sound of an artificial satellite in orbit around Earth (you know, that typical "DUU-DUU-DUU-duu-duu-duu-duu" kind of sound).

In 1973 his parents had a present for their son: a not-too-large refractor telescope (VIKING). His father wanted to do experiments with this telescope (astrophotography), but, alas, it never happened. Instead... during the second half of the seventies his son used this telescope to watch small airplanes flying over (an aircraft spotter!), and to observe the moon (observing deepsky objects was impossible).

The Apollo-Soyuz Test Project (A.S.T.P.)

Still at school (mid seventies)... once again he wanted to hear the latest news from NASA (the Apollo-Soyuz Test Project - A.S.T.P.), alas... the teacher's mind was somewhere in the days of the Roman Empire. The minds of the pupils too (if you wanted to be seen as an "intellectual", you were supposed to know and to speak a lot about the Roman Empire) (and play soccer).

William R. Corliss, M. G. J. Minnaert, Wil Tirion...

Admirer of the series of books from William R. Corliss (The Sourcebook Project - all sorts of rare natural phenomenae), also of the three books by the Dutch populariser of science M. G. J. Minnaert (De Natuurkunde van 't Vrije Veld). Admirer of star atlases printed on paper, such as Wil Tirion's Uranometria 2000.0 (the first edition from 1987).

Sound and Vision

Has a very peculiar kind of Long-Term Memory (especially musical memories). Hundreds of musical bits and pieces, absorbed when he was a toddler, are still adrift somewhere in his brain. His parents listened to Rock-and-Roll music, and there was always a radio on. Was mentally turned upside-down and inside-out when his parents decided to watch Stanley Kubrick's 2001: A SPACE ODYSSEY in cinema (around 1971) with their 7 year old son in between them. The colorful STARGATE sequence near the end of the movie took their son to "another level" (thank you mr. Trumbull!).

Antenne 2 and electronic music by Francois De Roubaix

Around 1975 there were other such special moments when he was watching French television (the mind-blowing générique of Antenne 2 / Antenne Deux) with psychedelic and colorful "computer-graphics", accompanied by electronic sequencer music by Francois De Roubaix. He was watching this with open mouth and eyes/ears all over! Two years later: the discovery of Tangerine Dream's Rubycon Part 1 (see APPENDIX at the bottom of this "Curriculum Vitae").

Sharp music and the Vorticism movement

Great admirer of all sorts of music which has a certain kind of "sharp wit" and rhythm in it (Riddim), Romanian cymbalom music, unusual and very unknown sorts of classic music, rare electronic instruments such as the Mixtur Trautonium played by Oskar Sala (Elektronische impressionen). Punk-Jazz from The Lounge Lizards (especially the piece Wangling), etcetera... etcetera...
According to Danny C, post-Punk and New Wave music (early eighties) was some kind of reverberation of the Vorticism movement of 1914 (the same sort of sharpness).

By the way, the last time he was in cinema: 1982 (Stephen Lisberger's TRON, because of the art of Jean Giraud, aka GIR, aka Moebius). All other movies after TRON could not wake him up.
The last time he was in a swimming pool: 1984 (during his last days at school) (note: water is always much too wet).

The CAES ARC (a very unusual entoptic phenomenon)

The discovery of the entoptic phenomenon CAES ARC happened somewhere during the years 1977 or 1978, while he was age 13 or 14. While looking at an angle of, say, 30° away of a bright pointlike white artificial lightsource, surrounded by darkness, he noticed a somewhat red colored diffuse crescent shaped arc at the centre of vision. This arc was surrounded by some sort of "cobweb" of dark threads, filling the whole of the field of view. What he observed was the system of blood vessels in the eye. The red colored arc was an appearance of what is commonly known as the yellow spot (Macula Lutea) (one could wonder if this reddish arc shaped appearance is already known at the Optical Society of America, O.S.A.) (somehow it must be related to the phenomenon known as Maxwell's Spot, and perhaps also to Haidinger's Brush). Further investigation revealed that the diffuse red colored arc always shows an accompanying dark (or very dark blue) arc at the concave part of the main red arc (that is: the part away of the lightsource). One could say that the Caes Arc looks like a small version of the Circumzenithal Arc: the convex part of the Circumzenithal Arc is aimed at the lightsource (the sun), so does the Caes Arc: the convex part of the arc is aimed at the pointlike artificial white lightsource. Those who know the technique to "glide" the eye's direction over the field of view, in circles around the pointlike lightsource, have much greater ability to observe the system of blood vessels in the eye. There's also a much better visibility of the red colored arc and its accompanying dark blue arc (one could also wonder if Purkyne and Minnaert were familiar with these red and dark blue arcs).

Cat's Eye and Offset White Arcs

Somewhere around 1986 he discovered a rather simple technique to observe the red-orange colored retroreflection ("cat's eye") in one's own eye (won't describe this technique because he's affraid some so-called professor could run away with it). Discoverer of many more less known (read: unknown) optical phenomena in the sky, such as the white rainbows created by spectral colored parhelia ("sundogs") aka Offset White Arcs, mentioned in W. R. Corliss's book Rare Halos, Mirages, Anomalous Rainbows, and related electromagnetic phenomena (The Sourcebook Project, 1984).

THE MYSTERY OF THE LILAC COLORED BALL OF GLASS (a rare optical phenomenon)

By the way, perhaps some of you know more about a certain optical phenomenon which I discovered several years ago. Description: a lilac colored ball of transparent glass with some "air bubbles" in it, to place on furniture as eye catcher, looks... well... lilac colored when it is illuminated by the sun's light. There's nothing unusual about it. However, when this ball of glass is illuminated by a certain kind of artificial white lightsource it (the ball) looks grey! (it's almost some sort of khaki-ish or lightblue-ish grey). When this ball is illuminated by another sort of artificial white lightsource, it looks just the way it should be: lilac (say: its "own" color). I made observations of this peculiar white lightsource through a prism and noticed the discontinuous spectrum created by it. A diffraction filter (for example: a COKIN filter for photographers) shows the same discontinuous spectrum. Could it be that a certain part of the spectrum (the lilac part) is absent and becomes invisible in the illuminated ball of glass? This is a very curious phenomenon! Further thinking... (another experiment)... when I observe all sorts of near-white artificial lightsources through this lilac colored ball of glass, I notice a certain effect of color shifting. That is: lightblue colored lightsources look much more bluish, orange-yellowish lightsources look much more reddish. This rings a bell, because a lilac colored Lumicon filter for the eyepiece of a telescope could (perhaps?) turn the weak contrasting colors of a bi-colored double star much more distinct (Gamma Andromedae, Eta Cassiopeiae, etc...). The bluish white component of the double star system would look much more bluish, the yellowish white component much more orange-ish or even reddish. Unfortunately I don't have such a lilac colored filter. I try to look for a transparent candy wrapper which shows the same sort of lilac of the transparent glass ball, but... alas... (a box of Mackintosh, Quality street, has only the deep purple candy wrapper in it, no lilac...).

Red colored Transient Lunar Phenomena

The astronauts of the Apollo program detected tiny transparent glass spherules in and on the lunar regolith (the moon's surface layer of very fine dust particles). Now, could it be that the red colored Transient Lunar Phenomena are the result of sunlit transparent glassy spherules, showing us the equivalent of the commonly known Primary Rainbow (R: 42°), but... in transparent glass spherules it shows the Primary bow at an angle of R: 22°30'. We on Earth, looking through our telescopes, observe only a very tiny part of the bow's most distinct color: red, when the moon is located at an angle of... 22°30', measured from the sun's counterpoint (the point at 180° from the sun). In theory it all fits, but... are Transient Lunar Phenomena real? (especially those in which colors such as red are observed). Are there astrophotographers here in ASTROBIN who have observed rare red colored appearances on the moon and made color photographs of them? (the same question could be asked about appearances of Ball Lightning, there are very few photographs of this electromagnetic phenomenon, and even those are very doubtful, although most of Earth's population has a photographic device called a smartphone or something equal). So... I think it (the red colored Transient Lunar Phenomena) are nothing more than appearances of very tiny parts of the red section of the Primary glass-spherule bow (created by fields of very tiny sunlit transparent glass spherules on the lunar regolith). See also: John A. O'Keefe, one of the very first lunar specialists who came up with the existence of the regolith's glass spherules (the effect of retro-reflection or Heiligenschein during Full Moon). One must not forget the effect of Lunar Dust Migration (or Lunar Dust Levitation), a phenomenon on the moon's day-night terminator, once photographed by one or more unmanned Surveyor landers shortly before sunrise (a horizontal streak of "light" just above the location where the sun should have appeared). Perhaps every now and then there are fields in which many more (very tiny) transparent glass spherules are migrated to one single location, capable of creating a veritable primary glass-spherule bow of R: 22°30'. I wish I could go to the moon to investigate the regolith...
Note: the primary glass-spherule bow of R: 22°30' could also be noticed on the road near white painted streaks which contain glassy spherules, to create the effect of retro-reflection. Sometimes new white streaks are painted, the glassy spherules are spilled all over the dark grey road. Keep an eye on the surface of the road when te sun is shining on it! (a complete circle instead of only a section of the bow could be seen!). Good luck!

The nocturnal magenta colored display of a clockradio (by daylight: red)

Now here's something some of you might have noticed too, while you take a nocturnal nap before you start your astrophotographic activities. Just after sleep, while your eyes are open, you might notice a peculiar color-shift in the red display of your clock radio. It's as if the red is shifted toward a deep magenta (almost pink-violet). After several seconds the magenta turns red (the normal color of the display). As far as I know, this entoptic phenomenon is nowhere else described or mentioned, only here. Perhaps some of you know more about it than I do, and know the exact cause of it.

APPENDIX

About Rubycon part 1 (Tangerine Dream, 1975).
As I hear it, this is an unplanned exploration performed by a small group of speleologists in a highly civilized unknown subterranean society. According to plan, this group of speleologists was investigating very strange shaped cavities, BUT... suddenly they enter something far beyond expectations. They can't believe their eyes. Here they learn about the existence of the true occupants of a certain planet known as SOL III ("Terra" / "Earth"). At the start of the sequencer section (about halfway Rubycon part 1) they are invited to go all the way through a grand lesson, to learn about the history and origin of this subterranean civilization. Here they also learn that this unknown society has always communicated with extraterrestrial civilizations, far beyond our own galaxy! Near the end of Rubycon part 1 one could hear that there's a dilemma. Somebody of the subterraneans is forced to tell these speleologists that they can't go back to the surface because they know too much. Or... they stay underground as subterraneans, for the rest of their days, and are seen as missed at the surface, or... they go back to the surface as nutty fruitcakes (nobody would believe them if they talk about their astonishing discovery), or... they go through some sort of hypnotic treatment to forget all of it and go back to the surface as common people (as if: "there was this mysterious hiatus or blackout during our exploration of the strange shaped cavities, we can't remember what happened").
Now, what shall they do ?!?! (during this dilemma you could almost hear them thinking).

Rubycon part 2:
How to get out of this dilemma? The group of speleologists decide to stay for awhile, to explore a bit further. They try to escape, to find a quick way to get back to the surface (the hyperkinetic sequencer section of Rubycon part 2), but... they are caught by the subterraneans and must go through the hypnotic treatment to forget all what happened and everything they learned in the subterranean society. Near the end of Rubycon part 2 everyone of the speleologists is puzzled: they "landed" somewhere on earth's surface, waking up on a beach, near the sea, an hour or so before sunrise... They seem to remember all sorts of "weird things" but can't really visualize WHAT they remember (the music is full of unanswerable questions). Was this subterranean adventure reality or was it all a weird sort of dream? (note: dreams are always weird).

We can only wonder what Edgar Froese (the "boss" of Tangerine Dream) had in mind when he composed Rubycon parts 1 and 2. Were Chris Franke and Peter Baumann also involved? Or were they just performers, doing the task Edgar wanted them to do? Another question; were there one or more members of Pink Floyd also involved during the creation of Rubycon? (Rubycon was recorded in England).

Jacques Vallée in cinema

"Instead of looking at the screen, what I want to do is to turn around and look the other way. When we look the other way, what we see is a little hole at the top of the wall with some light coming out. That's where I want to go. I want to steal the key to the projectionist's booth, and then, when everybody has gone home, I want to break in."
Jacques Vallée

See also the questioning girl who's looking the other way in the clip of Neneh Cherry's song 'KONG' (this questioning girl's gaze is a very powerful image!).

Job

At work as labourer in the city of Ghent's automobile-assembly plant (VOLVO cars) at the industrial sea-port. Say what?

Hobbies

Creating alphabetically arranged catalogs, lists, and registers of everything in the universe which received a name or nickname.