Retranscription (segments) of dialogues between Hugo Girard and Albert Dorsko as presented in the booklet accompanying the CD

HG : So, Gaudot was the only one to see this character?
AD : On a long period of time, yes!
HG : But, of course, you did saw him in the beginning?
AD : Well, in my case, as a guinea pig, I think that the hallucinations provoked by the tests disappeared during the very first attempts, but for Gaudot, things were somewhat different. Following my descriptions of the phenomenon, he got it into his head that an invisible being followed him in all of his movements. With the ultratonic transmissions done on him, his conviction about that just increased as he then saw that being quasi-permanently.
HG : And at that moment, you doubted his reason?
AD : Well, you see, we were ready to accept all kinds of hypothesis on certain particularities within the results obtained. However (pause), Gaudot stressed on that subreality invisible to the normal eye. He even attempted to evaluate its proximities in comparison with his movements; he gave the name of “perimeters” to the zones into which certain phenomena appeared to him. He listed five of them and was convinced that there could be even lots more. The perimeters of observation into which, as a witness, he moved through various obstacles, both physical and psychic, altered his reason and plunged him further into the interworld of the known, of course, but he lost himself more at the rational consciousness level.
HG : And your present intervention would be to overview “L’expérience auratrive”! All that is disturbing: you offer me your help as a consultant to review all the publications being part of L’expérience auratrive (a sequel) to give a more realistic version of it. We erase from the beginning and we start again from scratch?
AD : No, but, for instance, it would be possible to shed some light on certain shadow zones…

Here is another excerpt from the same dialogue not used for the booklet

AD : Your music? It makes some noises? There’s that noise, an unusual noise, really. What’s the sense of it?
HG : Well, it’s the vehicle. This construction of sounds superimposed in pulses and rhythms leads us (or attempts to) towards those events belonging to the past.
AD : Then, you discovered the handling of the journey in the past?
HG : Of course, no, but in a way, a book tells us things, so it follows the sounds used, or the noises, as you call them, are the story in itself.

This conversation is reproduced as originally retranscribed.

Graphical memories (overview of the booklet)