Witcomb Farm, nr Hilmarton, Wiltshire. 
Reported 22nd July.

Updated Friday 10th August  2001


Image Stuart Dike. Copyright 2001

This is an attempt at MAN-MADE field art.

Image Peter Sorensen Copyright 2001

Peter Sorensen's Report on the Midwest Research Experiment


STATEMENT OF PURPOSE AND PRELIMINARY RESULTS
 FROM FIELD EXPERIMENT AT HILMARTIN, JULY 2001 

Click on thumbnails to enlarge

Video Images Stuart Dike Copyright 2001

It was our purpose in making these formations to test several assumptions about the phenomenon of crop circles in situ by replicating, as best we could, a geometrical area of flattened wheat in an English field. This we did with the farmer’s permission and blessing.

We were interested in testing firstly, how difficult it would be to make something and secondly, how difficult it would be to make something large. What we found is that with an inexperienced team of researchers, several being nearly seventy years of age, we could rather easily construct what you see in the pictures. The team leader, Peter Sorensen, drew a sketch on the spot and we followed his directions for practical execution. We made mistakes and corrected them, ran out of time and finished the job the next day. We made the tools ourselves by guessing what they should be. It was not difficult to do what we did.

We tested the energetics of the area first with the electrostatic meter, the TREK-520 before we made any of the formations. There were no anomalies noted. After we pushed down the crop for the first ring in the corner of the field we measured the ES again and found it had doubled in the flattened area. This was expected and explainable by the contour of the iso-static field changing with the shape. Before the large formation was begun we prayed and invoked the supernatural forces in a positive way. We cast our intent strongly here and the result with the ES meter was a four fold increase in voltage in the resulting formation, similar to what we have measured in previous ‘genuine’ formations in years past.

The physical appearance of the formation, while sort of messy due to our inexperience, clearly showed some of the hallmarks of what we had considered previously to be evidence of ‘genuine’ circles. We created wavy, stream-bed-like flows in the flatted crop, which looked like the result of energy, not mechanics. From the air, the stomper board marks and pathways are clearly visible and appear similar to the patterns seen in other "genuine" formations. We were able to create magically standing stalks and so-called magical bends, which serendipitously happened as a result of the mechanical process. Also the splay of crop against the standing wall was similar to many other ‘genuine’ circles we had seen over the years. So there were clearly some assumptions about previous circles that were proved wrong by our practical experiment.

We were also interested in seeing if any paranormal phenomena would be associated by our effort even though the field was located near Lynham Air Base and there was a lot of military activity, and we did the majority of our work in the daytime. While we did not perceive any direct contacts it is most curious to note that a very similar design appeared a day or two later in Cambridgeshire. Our first effort left a large standing crescent, which we flattened the next day. Is it possible that something may have picked up on this design and answered us? Is this an indication of contact with the original phenomena? Or is it possible that Peter Sorensen intuited a design that was in the aether, so to speak, and we were the first to lay it down. The mystery of the crop circles has not been solved by our little experiment at all. In fact it points to much more work to be done. We feel that our modest experiment has added to the bank of cereological knowledge. It is now up to the circle research community at large to test some of the more dogmatic assumptions that are often made about crop formations.

Ron Russell, Midwest Research, July 2001   ronr@estreet.com

Simeon Hein, Ph. D.  simeon@mountbaldy.com


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Mark Fussell & Stuart Dike

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