(See capture-bonding for the unrelated evolutionary psychology term)
NOTE: This article is a repository of the material that Sadi Carnot added to the Evolutionary psychology related capture bonding article. All of Sadi Carnot's edits are now under review. See [http://en. .org/wiki/ :Administrators%27_noticeboard/Incidents#User:Sadi_Carnot] Keith Henson.
Origin of terms
In abnormal psychology, capture bond is a term used to define the bonding that in some instances develops between the captor and captive. The term stems from the 1973 case of a Swedish woman who became so attached to one of the bank robbers who held her hostage that she broke her engagement to her former lover and remained bonded, or in bondage, to her former captor while he served time in prison.
Origins of use
In 1986 psychologist John Money used the concept to explain abnormal development of lovemaps. In his 1986 book Lovemaps, for example, Money stated:
Abnormal psychology
In 1986, psychologist John Money applied the concept of lovemaps, i.e. neurological bonding predispositions accumulated during youth though association, to the capture-bonding phenomenon. According to Money, "For the average person it is an enigma that a wife would stay married for 25 years to a husband whose paraphilic sadism was always injuriously abusive; or that an abducted ten year old boy would pass up many opportunities for escape for this pedophilic abductor and stay with him after witnessing the lust murder of another boy his own age … this is referred to as Stockholm syndrome, defined as the bond that in some instances develops between captor and captive, or terrorist and hostage …this syndrome, more broadly defined, may be regarded as applying across the board to all of the paraphilias in which one partner exercises paraphilic power and the other becomes collusionally-bonded to the paraphile as an accomplice.”
Money uses the 1976 Baltimore pedophilic lust murder Arthur Goode, who at the age of twenty abducted a newsboy from a professional family and co-opted him as his boy lover. The child had opportunities to escape, even after he was witness to the lust murder of another boy his own age. It was only after the police were notified, that he could disengage himself from the mysterious bond with his abductor. Hence, according to Money, “A kidnapped sexual partner who foregoes opportunity for escape remains in a strong bond of attachment to the kidnapper. Until the bond is broken by outside intervention, it persists with all the defiant resistance of the phylism of infatuation and the limerent love affair.”
:Speaking as the child mentioned, I Billy Arthes, can tell you with certainty that I was not given any opportunity to escape. I was kidnapped, held forcefully against my will. I did try to escape,more than once, and was choked until I passed out, more than once. Arthur Goode threatened to kill me and my family and I only further believed him after I was forced to watch the willful and brutal murder of a child. Arthur Goode failed to mention the tactics he used to invoke terror in a ten year old boy. John Waters never contacted me only the convicted molester and murderer. John Waters chose to publish his words not mine. I can tell you what happen and how I felt because I was there. John Waters was not. Neither was John Money. I had NO bond with Arthur Goode. There was NO attachment. It was my testimony in two murder trials that convicted Arthur Goode. I was happy to hear when fried in "old Sparky" and would have thrown the switch myself if given the chance. To even suggest I had a bond or attachment to Arthur Goode is absurd. I was there and I did not see John Waters nor John Money.
Essentially, the lovemap theory entails that during early childhood development people develop neurological “maps” as they associate to their surroundings. Resultantly, as adults, those who have experienced abnormal development in youth will have the tendency to “bond” stronger in similar abnormal situations. Hence, if one was made to feel predisposed towards the “captive” lifestyle in youth by their “captor” surrogates, friends, or parents then later in life he or she will have a greater tendency to sink into the captive-bond.
Animal psychology
In animal psychology, the theory of capture bonding is used to explain various situations of infanticide, such as in lion or gorilla social systems, where a new alpha male takes over the troop and in doing so kills off all of the offspring. The females then, invariably bond to the new male and reproduce a new litter with him. Evolutionary psychologist Matt Ridley, in his 2003 book The Agile Gene - How Nature Turns On Nurture, explains that infanticide is common among gorillas, as it is among primates. A bachelor male, according to Ridley, will infiltrate a harem, grab a baby, and kill it. This has two affects on the baby's mother, apart from causing her great, though transient, distress. First, according to Ridley, "by halting her lactation it brings her back into estrus; second, it persuades her that she needs a new harem master who is better at protecting her babies. And who better to choose than the raider? So she leaves her mate and marries the baby's killer." This is a form of pair-bond resulting from a tribe or troop takeover in which the females are, so to say, “captured” and converted into new reproducing brides.
NOTE: This article is a repository of the material that Sadi Carnot added to the Evolutionary psychology related capture bonding article. All of Sadi Carnot's edits are now under review. See [http://en. .org/wiki/ :Administrators%27_noticeboard/Incidents#User:Sadi_Carnot] Keith Henson.
Origin of terms
In abnormal psychology, capture bond is a term used to define the bonding that in some instances develops between the captor and captive. The term stems from the 1973 case of a Swedish woman who became so attached to one of the bank robbers who held her hostage that she broke her engagement to her former lover and remained bonded, or in bondage, to her former captor while he served time in prison.
Origins of use
In 1986 psychologist John Money used the concept to explain abnormal development of lovemaps. In his 1986 book Lovemaps, for example, Money stated:
Abnormal psychology
In 1986, psychologist John Money applied the concept of lovemaps, i.e. neurological bonding predispositions accumulated during youth though association, to the capture-bonding phenomenon. According to Money, "For the average person it is an enigma that a wife would stay married for 25 years to a husband whose paraphilic sadism was always injuriously abusive; or that an abducted ten year old boy would pass up many opportunities for escape for this pedophilic abductor and stay with him after witnessing the lust murder of another boy his own age … this is referred to as Stockholm syndrome, defined as the bond that in some instances develops between captor and captive, or terrorist and hostage …this syndrome, more broadly defined, may be regarded as applying across the board to all of the paraphilias in which one partner exercises paraphilic power and the other becomes collusionally-bonded to the paraphile as an accomplice.”
Money uses the 1976 Baltimore pedophilic lust murder Arthur Goode, who at the age of twenty abducted a newsboy from a professional family and co-opted him as his boy lover. The child had opportunities to escape, even after he was witness to the lust murder of another boy his own age. It was only after the police were notified, that he could disengage himself from the mysterious bond with his abductor. Hence, according to Money, “A kidnapped sexual partner who foregoes opportunity for escape remains in a strong bond of attachment to the kidnapper. Until the bond is broken by outside intervention, it persists with all the defiant resistance of the phylism of infatuation and the limerent love affair.”
:Speaking as the child mentioned, I Billy Arthes, can tell you with certainty that I was not given any opportunity to escape. I was kidnapped, held forcefully against my will. I did try to escape,more than once, and was choked until I passed out, more than once. Arthur Goode threatened to kill me and my family and I only further believed him after I was forced to watch the willful and brutal murder of a child. Arthur Goode failed to mention the tactics he used to invoke terror in a ten year old boy. John Waters never contacted me only the convicted molester and murderer. John Waters chose to publish his words not mine. I can tell you what happen and how I felt because I was there. John Waters was not. Neither was John Money. I had NO bond with Arthur Goode. There was NO attachment. It was my testimony in two murder trials that convicted Arthur Goode. I was happy to hear when fried in "old Sparky" and would have thrown the switch myself if given the chance. To even suggest I had a bond or attachment to Arthur Goode is absurd. I was there and I did not see John Waters nor John Money.
Essentially, the lovemap theory entails that during early childhood development people develop neurological “maps” as they associate to their surroundings. Resultantly, as adults, those who have experienced abnormal development in youth will have the tendency to “bond” stronger in similar abnormal situations. Hence, if one was made to feel predisposed towards the “captive” lifestyle in youth by their “captor” surrogates, friends, or parents then later in life he or she will have a greater tendency to sink into the captive-bond.
Animal psychology
In animal psychology, the theory of capture bonding is used to explain various situations of infanticide, such as in lion or gorilla social systems, where a new alpha male takes over the troop and in doing so kills off all of the offspring. The females then, invariably bond to the new male and reproduce a new litter with him. Evolutionary psychologist Matt Ridley, in his 2003 book The Agile Gene - How Nature Turns On Nurture, explains that infanticide is common among gorillas, as it is among primates. A bachelor male, according to Ridley, will infiltrate a harem, grab a baby, and kill it. This has two affects on the baby's mother, apart from causing her great, though transient, distress. First, according to Ridley, "by halting her lactation it brings her back into estrus; second, it persuades her that she needs a new harem master who is better at protecting her babies. And who better to choose than the raider? So she leaves her mate and marries the baby's killer." This is a form of pair-bond resulting from a tribe or troop takeover in which the females are, so to say, “captured” and converted into new reproducing brides.
The Kelsi Yell
Daniel Rollins, a student in the Dartmouth College class of 1879, collaborated with Greek Professor John C. Proctor to invent a new yell for the school that had what they believed was an appropriately "Indian" sound to it:
"Wah-Hoo-Wah; / Wah-Hoo-Wah; / Da-di-di-Dartmouth, / Wah-Hoo-Wah, / Tige-r-r-r---"
(The conclusion "Tigerrr" was not a reference to a mascot, it was simply a common cry of aggression in collegiate yells, equivalent to "Get 'em.")
The Indian Yell, as it became known, soon spread to the University of Virginia (where it survives and has led to the nickname wahoos) and to the University of Illinois (where it did not last long). Dartmouth students, who had shortened the full yell to simply "Wah-hoo-wah," largely stopped using it during the late 1970s amid new concern over the tastefulness of the school's traditional use of Indian mascots, symbols, and the nickname "Indians."
Daniel Rollins, a student in the Dartmouth College class of 1879, collaborated with Greek Professor John C. Proctor to invent a new yell for the school that had what they believed was an appropriately "Indian" sound to it:
"Wah-Hoo-Wah; / Wah-Hoo-Wah; / Da-di-di-Dartmouth, / Wah-Hoo-Wah, / Tige-r-r-r---"
(The conclusion "Tigerrr" was not a reference to a mascot, it was simply a common cry of aggression in collegiate yells, equivalent to "Get 'em.")
The Indian Yell, as it became known, soon spread to the University of Virginia (where it survives and has led to the nickname wahoos) and to the University of Illinois (where it did not last long). Dartmouth students, who had shortened the full yell to simply "Wah-hoo-wah," largely stopped using it during the late 1970s amid new concern over the tastefulness of the school's traditional use of Indian mascots, symbols, and the nickname "Indians."
Michael Pace-Sigge
(Michael Thomas Leonce Pace-Sigge nee Sigge) is German-born and Liverpool-based. Without ever having ever received formal arts or photography training, passion for the picture made him a self-trained semi-professional. Michael seems to have the right eye for the right place.
His work can be found on .
Michael Pace-Sigge is also a PhD Student at Liverpool University where he is currently studying the lexical properties of Scouse.
In other words: he is a corpus linguist who has a particular interest in the properties of Spoken Liverpool English. Some of his research can be found under – [http://www.m4pictures.co.uk/contact.html#English_Language_Research_]
Should all this be to heavy going – he also writes some short stories. He has done so since he was eight, but he has grown up now: he no longer writes in German, he tries English -
Apart from all that, Michael was born in the tiny spa of Salzkotten on 20.November 1970 and he claims the ancient medieval-looking Westphalian town of Soest as his town of origin.
He is also ex-married (to Christina Pace-Sigge, nee Christina Pace Butler) and the natural father of two daughters, Zoë (1994) and Larissa (2004).
M Pace-Sigge' s Artists' statement
"I fell in love with the city of Liverpool the moment I first arrived here (coming through the railway tunnel from the Wirral). I think, before, I had the potential to be interested in culture. Now, I cannot get enough of it and, at the same time, I always know that Liverpool has much much more to over than I could ever take in.
There are the performing arts: in the first week of my stay, I went to the Playhouse Theatre, and I kept going back ever after. I cannot remember how many budding and performing scriptwriters and actors I met since. I was taken aback by the visual attacks that modern art gave me at the Tate Liverpool and astonished to find such a wealth of paintings in the Walker Art Gallery (the second largest collection in the UK outside London). The Walker is part of National Museums Merseyside and I used to work there and the in Maritime Museum. Little surprise that I savoured what I was offered.
Whereas before I might have occasionally have visited a gallery or a museum, the wealth Liverpool has to offer inspires me to take visitors, friends - anybody really - to see and be impressed. And I have not even mentioned the live music yet!
So, I soaked up much of the culture Liverpool has to offer like the sea-breeze that fills your lungs down by the Mersey. Over the past ten years, I have worked (and continue to work occasionally) in the Everyman and Playhouse , Neptune and Unity Theatres . These days I am almost every night in the gorgeous Philharmonic Hall , exposed to a large variety of music. Working closely with the Royal Philharmonic Orchestra gives me unique access to observe the members at work – during rehearsals as well as during performances outside the Hall.
Last but not least, after volunteering in the Williamson's Tunnels and the Western Approaches HQ museums, I have also a reasonable insight in Liverpool’s later history.
Yet, day after day, I am still astonished what I discover when I look around me when turning a corner. Liverpool offers an incredible wealth of sights and impressions - and I try to re-form them in two dimensions.
Obviously, I am very biased toward Liverpool motives. However, it has become the ideal training ground that shaped and sharpened my perception over years. Consequently, wherever I go now, I am much more aware of my environment. Default thinking is now to try to figure out positions to take the ideal picture."
Sources: http://www.m4pictures.co.uk/statement.htm
(Michael Thomas Leonce Pace-Sigge nee Sigge) is German-born and Liverpool-based. Without ever having ever received formal arts or photography training, passion for the picture made him a self-trained semi-professional. Michael seems to have the right eye for the right place.
His work can be found on .
Michael Pace-Sigge is also a PhD Student at Liverpool University where he is currently studying the lexical properties of Scouse.
In other words: he is a corpus linguist who has a particular interest in the properties of Spoken Liverpool English. Some of his research can be found under – [http://www.m4pictures.co.uk/contact.html#English_Language_Research_]
Should all this be to heavy going – he also writes some short stories. He has done so since he was eight, but he has grown up now: he no longer writes in German, he tries English -
Apart from all that, Michael was born in the tiny spa of Salzkotten on 20.November 1970 and he claims the ancient medieval-looking Westphalian town of Soest as his town of origin.
He is also ex-married (to Christina Pace-Sigge, nee Christina Pace Butler) and the natural father of two daughters, Zoë (1994) and Larissa (2004).
M Pace-Sigge' s Artists' statement
"I fell in love with the city of Liverpool the moment I first arrived here (coming through the railway tunnel from the Wirral). I think, before, I had the potential to be interested in culture. Now, I cannot get enough of it and, at the same time, I always know that Liverpool has much much more to over than I could ever take in.
There are the performing arts: in the first week of my stay, I went to the Playhouse Theatre, and I kept going back ever after. I cannot remember how many budding and performing scriptwriters and actors I met since. I was taken aback by the visual attacks that modern art gave me at the Tate Liverpool and astonished to find such a wealth of paintings in the Walker Art Gallery (the second largest collection in the UK outside London). The Walker is part of National Museums Merseyside and I used to work there and the in Maritime Museum. Little surprise that I savoured what I was offered.
Whereas before I might have occasionally have visited a gallery or a museum, the wealth Liverpool has to offer inspires me to take visitors, friends - anybody really - to see and be impressed. And I have not even mentioned the live music yet!
So, I soaked up much of the culture Liverpool has to offer like the sea-breeze that fills your lungs down by the Mersey. Over the past ten years, I have worked (and continue to work occasionally) in the Everyman and Playhouse , Neptune and Unity Theatres . These days I am almost every night in the gorgeous Philharmonic Hall , exposed to a large variety of music. Working closely with the Royal Philharmonic Orchestra gives me unique access to observe the members at work – during rehearsals as well as during performances outside the Hall.
Last but not least, after volunteering in the Williamson's Tunnels and the Western Approaches HQ museums, I have also a reasonable insight in Liverpool’s later history.
Yet, day after day, I am still astonished what I discover when I look around me when turning a corner. Liverpool offers an incredible wealth of sights and impressions - and I try to re-form them in two dimensions.
Obviously, I am very biased toward Liverpool motives. However, it has become the ideal training ground that shaped and sharpened my perception over years. Consequently, wherever I go now, I am much more aware of my environment. Default thinking is now to try to figure out positions to take the ideal picture."
Sources: http://www.m4pictures.co.uk/statement.htm
The EverDead are a death rock/horror punk band formed in the spring of 2000, in the city of Grand Rapids, Michigan. The band was originally founded by guitarist Mr. Mysterious and vocalist Adam Dravean, although they quickly recruited Robert Baron on drums and Sam Straker on bass (both Robert and Sam had played with Adam in their previous band, "Decension") The band was formed mostly to attack the local music scene (which they felt was over saturated with pop punk, Christian hardcore, and nu metal bands), and also to spite the Conservative Christian populated city of Grand Rapids.
Early in their carer, The EverDead seemed more focused on instigating violence and making enemies in the local scene, than they did on their music, which consisted of an odd mixture of heavy metal and Misfits inspired horror punk. They soon achieved the status of one of the more banned and hated bands in Grand Rapids. The unorthodox nature of the band resulted in a constantly shifting lineup of musicians. Adam Dravean, and The Baron (who later switched over to bass playing duties) were the only constants.
By 2001, the band's second demo recording, entitled "One Bloody Night..." had gained popularity in the budding online horror punk community. The EverDead, who had made it their goal to create animosity and offend everyone, were surprised to find themselves gaining fans. The band began to focus more on their music, and with the addition of keyboardist, Michael Mortis, their music took more of turn towards goth/death rock, similar to the mid-'80s incarnation of The Damned. With the release of the "Slumber Party Massacre EP" on Halloween of 2002, The EverDead joined bands such as Cancerslug, Blitzkid, and Mister Monster at the forefront of the modern wave of horror punk.
Not long after releasing the "Slumber Party Massacre II" CD in August of 2003, The EverDead went on a year long hiatus. In late 2004, The EverDead got back together, and in 2005 they began working on their long postponed full length CD, entitled "Zombies, Werewolves, & Demons".
Sam Straker (AKA Sam Bones) and Robert Baron have been The EverDead's most prolific song writers, and almost all of the bands lyrics are the work of Adam Dravean. The EverDead have cited their main influences to be Glenn Danzig's three bands: The Misfits, Samhain, and Danzig, as well as The Damned, and The Dwarves. Other, lesser influences, include Balzac, Type O Negative, AFI, and Strung Out.
Artist Rob Villareal of Ravenous Media has created most of The EverDead's artwork. Ravenous Media is also responsible for much of the art of Cancerslug, a band The EverDead are friends with.
Group Members
Current Members
*Adam Dravean - lead vocals (2000-present)
*Robert Baron - bass, backup vocals (2002-present), drums (2000-2002)
*Sam Bones - guitar (2000, 2001-2002, 2003-present)
*Michael Mortis - keyboards (2001-present)
*Bludlux - drums (2002-present)
Past Members
*Evil Keith - bass (2004)
*Rodney Repulsive - guitar (2002-2003)
*Rants Mohammets - bass (2000-2001)
*Count Orlox - bass (2000)
*Mr. Mysterious - guitar (2000-2001)
Discography
* Bone You To Death (Demo EP) May 2000
* One Bloody Night... (Demo EP) September 2000
* The 7th House Demon MF's - Original Sin (Compilation CD) July 2002
* Another Bloody Night (Demo EP) July 2002
* Slumber Party Massacre (EP) October 2002
* I Want My Mommy (Demo EP) May 2003
* Slumber Party Massacre II August 2003
* Misfits Tribute - Too Much Horror Business (Compilation CD) November 2004
* Icons of the Underground: Volume 1 - Glenn Danzig (Compilation CD) October 2006
Early in their carer, The EverDead seemed more focused on instigating violence and making enemies in the local scene, than they did on their music, which consisted of an odd mixture of heavy metal and Misfits inspired horror punk. They soon achieved the status of one of the more banned and hated bands in Grand Rapids. The unorthodox nature of the band resulted in a constantly shifting lineup of musicians. Adam Dravean, and The Baron (who later switched over to bass playing duties) were the only constants.
By 2001, the band's second demo recording, entitled "One Bloody Night..." had gained popularity in the budding online horror punk community. The EverDead, who had made it their goal to create animosity and offend everyone, were surprised to find themselves gaining fans. The band began to focus more on their music, and with the addition of keyboardist, Michael Mortis, their music took more of turn towards goth/death rock, similar to the mid-'80s incarnation of The Damned. With the release of the "Slumber Party Massacre EP" on Halloween of 2002, The EverDead joined bands such as Cancerslug, Blitzkid, and Mister Monster at the forefront of the modern wave of horror punk.
Not long after releasing the "Slumber Party Massacre II" CD in August of 2003, The EverDead went on a year long hiatus. In late 2004, The EverDead got back together, and in 2005 they began working on their long postponed full length CD, entitled "Zombies, Werewolves, & Demons".
Sam Straker (AKA Sam Bones) and Robert Baron have been The EverDead's most prolific song writers, and almost all of the bands lyrics are the work of Adam Dravean. The EverDead have cited their main influences to be Glenn Danzig's three bands: The Misfits, Samhain, and Danzig, as well as The Damned, and The Dwarves. Other, lesser influences, include Balzac, Type O Negative, AFI, and Strung Out.
Artist Rob Villareal of Ravenous Media has created most of The EverDead's artwork. Ravenous Media is also responsible for much of the art of Cancerslug, a band The EverDead are friends with.
Group Members
Current Members
*Adam Dravean - lead vocals (2000-present)
*Robert Baron - bass, backup vocals (2002-present), drums (2000-2002)
*Sam Bones - guitar (2000, 2001-2002, 2003-present)
*Michael Mortis - keyboards (2001-present)
*Bludlux - drums (2002-present)
Past Members
*Evil Keith - bass (2004)
*Rodney Repulsive - guitar (2002-2003)
*Rants Mohammets - bass (2000-2001)
*Count Orlox - bass (2000)
*Mr. Mysterious - guitar (2000-2001)
Discography
* Bone You To Death (Demo EP) May 2000
* One Bloody Night... (Demo EP) September 2000
* The 7th House Demon MF's - Original Sin (Compilation CD) July 2002
* Another Bloody Night (Demo EP) July 2002
* Slumber Party Massacre (EP) October 2002
* I Want My Mommy (Demo EP) May 2003
* Slumber Party Massacre II August 2003
* Misfits Tribute - Too Much Horror Business (Compilation CD) November 2004
* Icons of the Underground: Volume 1 - Glenn Danzig (Compilation CD) October 2006