On this page are excerpts and quotes from writers/authors who refer to the work of John Sabol and Mary Becker. John and Mary strongly encourage the reading of these books as well as these writers/authors other writings on their contribution towards ghost research. (The following are in no particular order.)
Metcalfe, David. Entering the Theatre of Manifestation – the Art of Possession. disinfo.com . June 17, 2013.
These methods bear some semblance to the theoretical archaeological techniques developed by John G. Sabol, Jr. and the C.A.S.P.E.R. group:
“Theatrical ghosting is the common thread and process that opens a link between one “living” ghost and another already physically dead. In this ghosting, the performance of past memories are recalled and shared. The behavior of the investigator (as participant in his/her internal ghost culture) and the ghost (as observer in her/her external ghost culture) resonate with one another, creating a “ghosting” (a mutual understanding) link from past to present that results in communicative behavior.”
– from Bodies of Substance, Fragments of Memories: An Archaeological Sensitivity to Ghostly Presence, John G. Sabol Jr
Sabol’s work uses these techniques to understand how we interact with history, place memory and what ways that becomes active in the present. FoolishPeople’s work activates this further through rituals that deeply embed the personal narratives of the participants into this invocation of past and future memories. Although both Sabol and the FoolishPeople are more careful than to provoke paranormal claims, the interplay that occurs between the performance narrative, place history, personal history and audience immersion provides an open ground for unexpected revelations and breakthroughs.
“We are the ghosts within these remembrances and memories as our experiences are recalled, and a symmetrical connection between past and present begins to percolate. We re-live our past cultural behavior through resonating moments that link us, through our contemporary performances, with those uncompleted (and still sensed) past events. This is a form of “theatrical ghosting” and a performance odyssey that takes us through the ghost culture of our life. There is nothing worse…or better…than this journey. Within these time and space travels we have already met the ghosts we seek out in our investigations, without even acknowledging their existence and continuing presence. An important consideration in these travels through space and time is whether we can tell the difference between internal ghosts, and those that are external and foreign to our own personal feelings and cultural values.”
– from Bodies of Substance, Fragments of Memories: An Archaeological Sensitivity to Ghostly Presence, John G. Sabol Jr.
Matsuo, Alex. The Haunted Actor. Bloomington: AuthorHouse, 2014. Chapter 13, Creating a Production out of Investigating, Reenactments. pp 164-165
“…For example, John Sabol Jr., also known as the Ghost Excavator and the founder of C.A.S.P.E.R (Center for the Archaeological Studies of Presences Through Ethnographic Resonance), has engaged with ghosts and spirits at Burnside’s [sic] Bridge at Antietam by taking on different roles with his team for the purposes of engaging with the deceased in their context. Sabol’s research shows remarkable results, as can be seen on his website. He has investigated and researched field for decades as well as published several books about his work and methodology. If you want to learn more about his work, it is strongly recommended!”
“Sabol and Becker strongly argue that an excavation is not a reenactment. On the C.A.S.P.E.R. website the difference is defined as this: “A re-enactment re-creates a historical event that is considered past. A “ghost excavation” is an immersion into particular past cultural acts as they would have been (and continue to be) experienced by particular individuals.” Through active engagement with the deceased, there is dialogue taking place for the purposes of learning about the past and learning new things that may or may not have been common knowledge before. This method strongly indicates that there is more interaction and results produced through this method of investigating, and according to Sabol and Becker, these results are subsequently validated.
Jones, Marie D. & Flaxman, Larry. The Resonance Key. Franklin Lakes: New Page Books/Career Press, 2009. pp 85-86
“John Sabol, founder and principal investigator for the Center for the Anthropological Studies of the Paranormal for the Eastern Region proposed a very intriguing theory. Sabol authored two articles about historical haunted locations and resonance. In these articles, titled “Natural Selection and the Involution of the Gettysburg Ghosts” and “Ritual, Resonance, and Ghost Research: The Play in the Fields,” he wrote for Ghostvillage.com about the idea of repetitive behavior create a resonance at a particular location, then later associated with ghosts.
Using the rich historical site at Gettysburg, Sabol postulated that ghostly phenomena occurs due to the existence of activity and/or event fields, “including rhythmic behavioral movements (such as walking, reading, and gazing) that are repeated over and over again in a given area.” The repetition would then form a pattern that, via resonance, would continue to manifest long after the initial pattern was created. …”
Parsons, Brian D. The “E4″ Method. Twinsburg: Lulu, 2013. (Mary Becker and John Sabol, in particular, are mentioned throughout Parsons’ book. Sabol’s Ghost Excavation methodology is the basis of his [Parsons] “E4” Method.)