The Emotional Side Of Ghost Hunting

The Emotional Side Of Ghost Hunting

 

An emotion is a mental and physiological state associated with a wide variety of feelings, thoughts, and behaviorism. It is a prime determinant of the sense of subjective well-being and appears to play a central role in many human activities.

As a result of this generality, the subject has been explored in many, if not all of the human sciences and art forms. There is much controversy concerning how emotions are defined and classified.

When associated with the paranormal, haunted activity or Ghost Hunting this is when the scientific method has no ground to stand on. Evidence of the emotional nature cannot be verified or suggest as proof in documentation.

by Gina Lanier

The personal side of ghost hunting has it's many ups and downs. Paranormal Researchers need in the opinion of science to learn distinguish feeling and emotion, where feeling refers to the subjective experience of the emotion. Too often many believe we as fringe judges of what is real and not real concerning hauntings do not realize that emotions can occur unconsciously. And by doing such we accept general paranormal phenomenon than its subjective actual feeling. Many sensitive's when asked will tel you that they have to stay objective during a paranormal investigation. They have to be emotionally clear. This allows the spirit force or the intense emotions of the ghost to invade them.

The Affective Events Theory is a communication-based theory developed by Howard M. Weiss and Russell Cropanzano (1996), that looks at the causes, structures, and consequences of emotional experience (especially in work contexts.) This theory suggests that emotions are influenced and caused by events which in turn influence attitudes and behaviors. This theoretical frame also emphasizes time in that human beings experience what they call emotion episodes - a “series of emotional states extended over time and organized around an underlying theme” (Weiss & Beal, 2005, p. 6). This theory has been utilized by numerous researchers to better understand emotion from a communicative lens, and was reviewed further by Howard M. Weiss and Daniel J. Beal in their article, Reflections on Affective Events Theory published in Research on Emotion in Organizations in 2005.

In philosophy, emotions are studied in sub fields such as ethics, the philosophy of art (e.g., sensory-emotional values, and matters of taste and sentiment), and the philosophy of music. In history, scholars examine documents and other sources to interpret and analyze past activities; speculation on the emotional state of the authors of historical documents is one of the tools of interpretation. In literature and filmmaking, the expression of emotion is the cornerstone of genres such as drama, melodrama, and romance. In communication studies, scholars study the role that emotion plays in the dissemination of ideas and messages.

Emotion is also studied in non-human animals in ethology, a branch of zoology which focuses on the scientific study of animal behavior. Ethology is a combination of laboratory and field science, with strong ties to ecology and evolution. Ethologists often study one type of behavior (e.g. aggression) in a number of unrelated animals.

Feeling What A Real Ghosts Feels

Feelings may also more narrowly refer to the experience of physical bodily changes. A person is dead we cry we hurt physically and mentally when a dear loves person or pet dies. We even react to the deaths of those celebrities and public figures that we personally don't know. We a humans can cry and feel for some one thousands of miles away that have suffered by the hands of another or a act of God. But what emotion do we have when we consciously die? The range from happy to sad and all points in between is more then likely.

From all of this we can relate that emotions can also be contagious and effect entire groups of people. Individually it does effect our persona, households and as in mass emotional fever, entire communities. A related distinction is between the emotion and the results of the emotion, principally behaviours and emotional expressions. People often behave in certain ways as a direct result of their emotional state, such as crying, fighting or fleeing. The same we might imagine carries over after death. And many believe what actually holds a ghost to this world or causes them to haunt a location is locked into the secrets of what emotion controls them. There are a number of theories of emotions that argue that cognitive activity in the form of judgments, evaluations, or thoughts are necessary in order for an emotion to occur. So there for a ghost is a thinking entity. At times many argue that it is a mind stuck on one track of emotional delirium such as in a residual haunting.

Could ghosts be afraid of us as we are of them?

Many belivee what you can't see can't hurt you. Others relate that ghosts are just as afraid of us as we are of them. Yet who's emotions run higher the living or the dead? And who is more effected by a haunting?

But the real answers are not so simple to ascertain. Psychics or mediums many times are over come with the emotions that a ghost or spirit sets over them. the problem is unless a sensitive person has no emotional baggage to speak of they can only apply the feelings to something they know or have experienced.

Aesthetic emotions refer to emotions that are felt during aesthetic activity and/or appreciation. These emotions may be of the everyday variety (such as guilt, loss, worry, fear, wonder or sympathy) or may be specific to aesthetic contexts. Examples of the latter include the sublime, the beautiful, and the kitsch. In each of these respects, the emotion usually constitutes only a part of the overall aesthetic experience, but may play a more or less definitive role for that state.

Every person who fears ghosts and haunting's usually come to you in a very distressed emotional state. Paranormal investigators often confuse the persons problems with the paranormal as contrived or high haunted drama. But they over look the fact that a ghost is in a state of perpetual haunted paranormal emotional drama or it would not be haunting us. Alas the pitch and intensity effects the haunted persons life. Many ghost have a tendency to effect those who are more prone to episodic bouts with fear depressions and worries.

In the philosophy of music, scholars have argued whether instrumental music such as symphonies are simply abstract arrangements and patterns of musical pitches ("absolute music"), or whether instrumental music depicts emotional tableaux and moods ("program music"). Despite the assertions of philosophers advocating the "absolute music" argument, the typical symphony-goer does interpret the notes and chords of the orchestra emotionally; the opening of a Romantic-era symphony, in which minor chords thunder over low bass notes is often interpreted by layperson listeners as an expression of sadness in music.

If you apply this to a ghosts then you might understand that their vibratory frequency effects us just the same. and some individuals more then others. Often ghosts are found to be relentless when effecting a person because they effect how a person thinks. They even gain something from the reactions of the individuals from what situations they thrust into their lives. Many interject this is the essence of what paranormal reality really is.

Emotion plays a major role in persuasion, social influence, and attitude change. Ghost might look for individuals that go from one mood to another to effect. In terms of paranormal research methodology, the challenge for researchers is measuring emotion and subsequent impacts on a location and the general attitude that effects all that come to the area. But if a location or info that a stigmatized area or person is apparent before you arrive then you expect the unexpected and or openly no longer objective to what may or may not be a haunted or paranormal situation.

Paranormal Drama

Since we cannot see into the brain, various models and measurement tools have been constructed to obtain emotion and attitude information. Measures may include the use of physiological cues like facial expressions, vocal changes, and other body rate measures (Breckler & Wiggins, 1992). For instance, fear is associated with raised eyebrows, increased heart rate and increase body tension (Dillard, 1994). Other methods include concept or network mapping, and using primes or word cues (Shavelson & Stanton, 1975). And by this as an investigator of ghosts we tend to learn and read individuals as they tell their story. We become Detectives reading body language, and listening to the emotion in a persons voice. Not that this is not how individuals usually relate, but as psychic or paranormal detectives we learn or judge a persons story because of the past individuals we have questioned.

Many Paranormal Investigators start mentally setup typing individuals but how they come across and relate they haunted experience. Objective ghost hunting is often effected by this because the type casting of individuals sets the tone and mood of what you will discover. Any discrete emotion can be used in a persuasive appeal for paranormal active help; this may include jealously, disgust, indignation, fear, and anger. Fear is one of the most studied emotional appeals in communication and social influence of paranormal research. I personally know of a few investigators who will not take a case unless the fear factor is over the top.

Ghosts effect our emotions.

Many in the research level have assumed that the ghost hunters of today or searching for higher levels of drama then what they already have in their lives. Consider this: If an individual is suffering a emotional high paranormal event and relate it to you then you want to witness it. Only to prove to them that yes this is happening and they are not insane. But if this does not happen them you judge the individual as nuts or a mentally ill person. Many ghost Hunters fall to the way side when investigating haunted individuals because they do not wan the individual latching on to them. This is why so many use the props of ghost hunting, and EMF meter or a recorded EVP as ether proof or not relying only on data and not emotional feelings as proof. These ghost hunters would rather just take photos or walk around in the dark then talk or interact with someone effected by a ghosts.

The drama we want as paranormal investigators is up to us. Decide first how deep you want to go. Ghost Hunting burnout is usually brought on because you seem to be becoming a person that deals with others tortured lives by the hands of ghosts. Consider the tension of the paranormal and the beliefs of those around you. Family, work, your ghost hunting group and then toss in the emotions and the tugging of the haunted individual and the ghosts. all this plays a big part in the dramatic situation you choose to enter. Add a few highly charged incidents of the unimaginable, personal problems in fighting and then the ghosts personal drama. Then consider where your mind has gone.

The one thing Paranormal Television and those new to the field of Paranormal investigation do not see is the toll it takes on ones on emotions. The fear that what your doing is bogus even to you. The worry that someone can get hurt or changed for life by wrong choices or the words you might tell them. The problem is when you ghost hunt you take on great responsibility and so few are prepared trained or aware of the effects they are creating on others.

Professional Ghost Hunting

Really there is no such thing in this area of research to that degree that we can call it Professional Paranormal Investigations team. To do such a team needs to consist of clinical researchers. Not individuals that think hey ghost hunting is fun and i get scared and enjoy the emotional roller coaster it affords me.

Many groups today advertise on their web sites that they hunt ghosts, respect the individual and or here to help. when in essence it fills some emotional need inside them and not their qualified status. Investigation in to ghosts and all that is paranormal is a choice or a vocation to some. But those that do it or kicks are hurting more them the individual they are emotionally hurting themselves and in time will see the effects. And they probably won't like it.

As supposed professional Ghost Hunters we need to understand Metacommunicative competence. This is the ability to intervene (in a guiding or constructively controlling way) within difficult conversations and to correct communication problems by utilizing the different ways of practical communication:

verbal communication: by words or their meaning
paraverbal communication: loudness of speaking, manner of speaking, when keeping silent, meaning of interrupting or interfering the conversation
nonverbal communication: body language (facial expression, eye contact, gestures), messages without words
extraverbal communication: time, place, context, orientation towards target groups, tactile (feeling by touching) and olfactory (smelling) aspects
Within the metacommunicative competence the aforementioned ways of communication can be used in a balanced and therefore credible, authentic way as well as simultaneously observed (Meta-analysis), if necessary corrected and adapted to an evolvement, a new influence or a new situation.

Nonverbal communication (NVC) is usually understood as the process of communication through sending and receiving wordless messages. Such messages can be communicated through gesture; body language or posture; facial expression and eye contact; object communication such as clothing, hairstyles or even architecture; symbols and infographics. Speech may also contain nonverbal elements known as paralanguage, including voice quality, emotion and speaking style, as well as prosodic features such as rhythm, intonation and stress. Likewise, written texts have nonverbal elements such as handwriting style, spatial arrangement of words, or the use of emoticons.

However, much of the study of nonverbal communication has focused on face-to-face interaction, where it can be classified into three principal areas: environmental conditions where communication takes place, the physical characteristics of the communicators, and behaviors of communicators during interaction.

The first scientific study of nonverbal communication was Charles Darwin's book The Expression of the Emotions in Man and Animals (1872). He argued that all mammals show emotion reliably in their faces. Studies now range across a number of fields, including sex linguistics, semiotics and social psychology.

Today to many who call themselves Professional do not know how to deal with such situations. Those that study the interactions of Grant Wilson And Jason Hawes each week seem to be thinking that these guys may be professional plumbers. But as professed paranormal researchers and individuals their faces and words are hiding something that we need to research more. Elements such as physique, height, weight, hair, skin color, gender, odors, and clothing send nonverbal messages during interaction. For example, research into height has generally found that taller people are perceived as being more impressive. Melamed & Bozionelos (1992) studied a sample of managers in the UK and found that height was a key factor affecting who was promoted. Often people try to make themselves taller, for example, standing on a platform, when they want to make more of an impact with their speaking.

Many neglect Paranormal Environmental Factors (PEF) such as furniture, architectural style, interior decorating, lighting conditions, colors, temperature, noise, and sound or music that affect the behavior of communicators during interaction with haunted individuals or locations.

Paralanguage refers to the non-verbal elements of communication used to modify meaning and convey emotion. Paralanguage may be expressed consciously or unconsciously, and it includes the pitch, volume, and, in some cases, intonation of speech. Sometimes the definition is restricted to vocally-produced sounds. The study of paralanguage is known as paralinguistics.

The term ’paralanguage’ is sometimes used as a cover term for body language, which is not necessarily tied to speech, and paralinguistic phenomena in speech. The latter are phenomena that can be observed in speech (Saussure's parole) but that do not belong to the arbitrary conventional code of language (Saussure's langue).

The paralinguistic properties of speech play an important role in human speech communication. There are no utterances or speech signals that lack paralinguistic properties, since speech requires the presence of a voice that can be modulated. This voice must have some properties, and all the properties of a voice as such are paralinguistic. However, the distinction linguistic vs. paralinguistic applies not only to speech but to writing and sign language as well, and it is not bound to any sensory modality. Even vocal language has some paralinguistic as well as linguistic properties that can be seen (lip reading, McGurk effect), and even felt, e.g. by the Tadoma method.

So the next time someone tells you about ghosts and hauntings listen you might learn something. And the very next time you watch a paranormal show analyze the paranormal investigator and consider. Do or would you trust them and their judgments. And is this who you want to pattern yourself and investigations after? Learn to read them their emotions and the people they talk to on the show. Then compare what you see to the results. it might surprise you.

Lisa Lee Harp Waugh Asks: Have The Dead Spoken To You Lately?

Lisa Lee Harp Waugh The Great American Necromancer

 

 

 

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This Month we feature Christopher Balzano, teacher and folklorist living in the Boston area. He has been investigating the unknown for twelve years and running Massachusetts Paranormal Crossroads, a web site dedicated to the paranormal and local folklore of Massachusetts, for more than five. His writing has appeared in such respected publications as “The Haunted Times” and “Mystery Magazine” as well as “Unexplained Paranormal Magazine.” His investigations have been covered by “The Boston Globe”, “The Boston Herald”, “The Standard Times” and “Worchester Magazine” and he has been asked to speak about urban legends and the paranormal at conferences throughout New England. He is a regular on several paranormal radio shows, including “The Ghost Chronicles” and “Spooky Southcoast” and has appeared in documentaries and television specials on the supernatural. He was one of the featured writers in Jeff Belanger’s Encyclopedia of Haunted Places and contributed to the collection Weird Hauntings and the soon to be released, Weird Massachusetts. His writing and research have also been featured in Thomas D’Agostino’s Haunted New Hampshire and Haunted Massachusetts and the recently released Ghostly Tails from America’s Jails. Read More Here!

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Featuring 30 chilling stories of real-life zombie encounters, this comprehensive and unsettling study draws upon traditions found throughout the world to dispel common depictions of zombies as lurching, flesh-eating automatons made popular by countless movies and books. This fascinating collection includes the stories of the Devil Baby of Bourbon Street, a monstrous creature complete with horns and tail that still lurks in the shadows of the Big Easy; Black Mama Courteaux and the great zombie war, involving hundreds of zombie soldiers battling for the supremacy of their queen; and the swamp child of Mama Cree, who still roams the bayous of Louisiana. In addition to the stories, a variety of zombie-related facts are explored, including ceremonies and initiations, zombies throughout history, sacred zombie and voodoo-related sites, and zombies and monsters of the Bible.




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Gina Lanier Paranormal Investigator

Gina Lanier has been featured on several paranormal programs that are nationwide on the radio and worldwide on the Internet.

 

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