"Modern wargaming originated with the military need to study warfare and to 'reenact' old battles for instructional purposes. The stunning Prussian victory over the Second French Empire in the Franco-Prussian War of 1870-1871 is sometimes partly credited to the training of Prussian officers with the game Kriegsspiel, which was invented around 1811 and gained popularity with many officers in the Prussian army. These first wargames were played with dice which represented "friction", or the intrusion of less than ideal circumstances during a real war (including morale, weather, the fog of war, etc.), though this was usually replaced by an umpire who used his own combat experience to determine the results."
This article looks into the relationship between the Military Industrial Complex, NASA and Hollywood.
Together these are basically The Military Industrial Entertainment Complex™. And the purpose of this complex is to fool you into thinking what you see on a screen or in print is real. What you think of as history is probably wrong. The world might not work how you think it does.
NASA is Hollywood. Hollywood is the Military. The NEWS is state run. The entire system is based on the basic ideas of yellow journalism which relies on extremely dishonest propaganda tactics. The Space Station is Fake. Easily explained with pre and post production techniques that originate back in the earliest days of photography and film. Darkroom photoshop techniques are as old as photography and deception is as old as speech. Wars and history are not what you think. If you’ve seen it on a screen it might not be real. You have been conditioned to accept highly edited video clips and voice over narration as real. You have been conditioned to trust the news people that come into your living room every morning and evening. You are not supposed to realize that those persons you see on the screen are just theatrical personas. The journalists read from the same scripts. The news and politics is more scripted than you might think. Here we examine how the military and Hollywood craft these illusions. Hollywood special effect starts with stage magic. Houdini was a film maker. Let’s take a look at how the illusions are made.
Simulating War A Long Time: RAND Corporation - Wikipedia
"The lesson here, surely, is not that the camera can, and often does, lie, but that it has lied ever since it was invented. “Reconstruction” of battle scenes was born with battlefield photography."
"Matthew Brady did it during the Civil War. And, even earlier, in 1858, during the aftermath of the Indian Mutiny, or rebellion, or war of independence, the pioneer photographer Felice Beato created dramatized reconstructions, and notoriously scattered the skeletal remains of Indians in the foreground of his photograph of the Sikander Bagh in order to enhance the image.
Most interesting of all, perhaps, is the question is how readily those who viewed such pictures accepted them. For the most part, historians have been very ready to assume that the audiences for “faked” photographs and reconstructed movies were notably naive and accepting. A classic instance, still debated, is the reception of the Lumiere Brothers’ pioneering film short Arrival of the Train at the Station, which showed a railway engine pulling into a French terminus, shot by a camera placed on the platform directly in front of it. In the popular retelling of this story, early cinema audiences were so panicked by the fast-approaching train that—unable to distinguish between image and reality—they imagined it would at any second burst through the screen and crash into the cinema. Recent research has, however, more or less comprehensively debunked this story (it has even been suggested that the reception accorded to the original 1896 short has been conflated with panic caused by viewing, in the 1930s, of early 3D movie images)—though, given the lack of sources, it remains highly doubtful precisely what the real reception of the Brothers’ movie was.
Certainly, what impresses the viewer of the first war films today is how ludicrously unreal, and how contrived, they are. According to Bottomore, even the audiences of 1897 gave Georges Méliès’s 1897 fakes a mixed reception:
If You Ever Have The Pleasure Of Witnessing Fighter Jets Fly Overhead, You Will Experience A Lot Of Noise And 'Thunder' And You Will See That These High Speed Aircraft Keep A Safe Distance From Each Other.
A few people might have believed that some of the films were genuine, especially if, as sometimes happened, the showmen proclaimed that they were so. Other viewers had doubts on the matter…. Perhaps the best comment on the ambiguous nature of Méliès’ films came from a contemporary journalist who, while describing the films as “wonderfully realistic,” also stated that they were artistically made subjects.
Yet while the brutal truth is surely that Méliès’s shorts were just about as realistic than Amet’s 1:70 ship models, in a sense that hardly matters. These early film-makers were developing techniques that their better-equipped successors would go on to use to shoot real footage of real wars—and stoking demand for shocking combat footage that has fueled many a journalistic triumph. Modern news reporting owes a debt to the pioneers of a century ago—and for as long as it does, the shade of Pancho Villa will ride again."
Photography Used To Manipulate The Behavior of the Masses
"An early example of tampering was in the early 1860s, when a photo of Abraham Lincoln was altered using the body from a portrait of John C. Calhoun and the head of Lincoln from a famous seated portrait by Mathew Brady – the same portrait which was the basis for the original Lincoln Five-dollar bill. Another is exampled in the Library of Congress Prints and Photographs Online Catalogue wherein it exposes a manipulated American Civil War photograph of General Ulysses S. Grant posing horseback in front of his troops at City Point, Virginia. Close observation of the photograph raises questions and brings to light certain details in the photograph that simply don't add up. For example, Grant's head is set at a strange angle to his body, his uniform is of a different time period, and his favorite horse "Cincinnati" did not have a left hind sock like the horse in the photograph, although his other horse "Egypt" did have a sock but on a different foot. With further research, three different photographs were discovered that explained the composite using Grant's head from one photograph, the body of Major General Alexander McDowell McCook atop his horse from another photograph, and for the background, an 1864 photograph of Confederate prisoners captured at the Battle of Fisher's Hill.
It was not until the 20th Century that we began to see digital retouching with Quantel computers running Paintbox in professional environments, which, alongside other contemporary packages, were effectively replaced in the market by Adobe Photoshop and other editing software for graphic imaging." https://en.wikipedia.org/wiki/Photo_manipulation#Early_manipulation
BOO! MEET THE WWII GHOST ARMY
"They drove their vehicles back and forth through local towns to create the illusion of heavy traffic. They visited cafés and spun fictitious stories for whatever spies lurked in the shadows. ‘We were turned loose in town,’ said John Jarvie, a corporal in the camouflage unit who went on to a career as an art director, ‘and told to go to the pub, order some omelettes, and talk loose.’ They even went so far as to create fake command posts, and against all Army regulations staffed them with counterfeit commanders."
THE LIVE ACTION THEATRICAL FALSE FLAG STYLE EVENT GHOST ARMY
"It was, in essence, a form of performance art designed to lend an extra degree of realism to their productions. They altered their uniforms and vehicle markings to those of whatever unit they were imitating that week. They drove their vehicles back and forth through local towns to create the illusion of heavy traffic. They visited cafés and spun fictitious stories for whatever spies lurked in the shadows. ‘We were turned loose in town,’ said John Jarvie, a corporal in the camouflage unit who went on to a career as an art director, ‘and told to go to the pub, order some omelettes, and talk loose.’ They even went so far as to create fake command posts, and against all Army regulations staffed them with counterfeit commanders. A colourful mission critique written by a young lieutenant named Frederick Fox (who went on to become a Protestant minister and a White House aide) explained why such rule breaking was necessary. ‘Impersonation is our racket. If we can’t do a complete job, we might as well give up. You can’t portray a woman if bosoms are forbidden.’"
Layers of Lies Protect The Truth. The wars were staged events.
The so called "enemy spies" were the European and (ultimately) the World public, for generations to come.
Enter The Be 'PC" AGE:
"The precursor sciences to the development of modern computer graphics were the advances in electrical engineering, electronics, and television that took place during the first half of the twentieth century. Screens could display art since the Lumiere brothers' use of mattes to create special effects for the earliest films dating from 1895, but such displays were limited and not interactive. The first cathode ray tube, the Braun tube, was invented in 1897 - it in turn would permit the oscilloscope and the military control panel - the more direct precursors of the field, as they provided the first two-dimensional electronic displays that responded to programmatic or user input. Nevertheless, computer graphics remained relatively unknown as a discipline until the 1950s and the post-World War II period - during which time, the discipline emerged from a combination of both pure universityand laboratory academic research into more advanced computers and the United States military's further development of technologies like radar, advanced aviation, and rocketry developed during the war. New kinds of displays were needed to process the wealth of information resulting from such projects, leading to the development of computer graphics as a discipline."
Satan Lord of Lies and Illusions
“One early incident demonstrated the dangers of embroidering the truth. The CPI fed newspapers the story that ships escorting the First Division to Europe sank several German submarines, a story discredited when newsmen interviewed the ships' officers in England. Republican Senator Boies Penrose of Pennsylvania called for an investigation and The New York Times called the CPI "the Committee on Public Misinformation." The incident turned the once compliant news publishing industry into skeptics.
Early in 1918, the CPI made a premature announcement that "the first American built battle planes are today en route to the front in France," but newspapers learned that the accompanying pictures were fake, there was only one plane, and it was still being tested. At other times, though the CPI could control in large measure what newspapers printed, its exaggerations were challenged and mocked in Congressional hearings. The Committee's overall tone also changed with time, shifting from its original belief in the power of facts to mobilization based on hate, like the slogan "Stop the Hun!" on posters showing a U.S. soldier taking hold of a German soldier in the act of terrorizing a mother and child, all in support of war bond sales.”
Among those who participated in the CPI's work were:
Edward Bernays, a pioneer in public relations and later theorist of the importance of propaganda to democratic governance. He directed the CPI's Latin News Service. The CPI's poor reputation prevented Bernays from handling American publicity at the 1919 Peace Conference as he wanted.”
World War One Propaganda Warning!
“The Committee on Public Information, also known as the CPI or the Creel Committee, was an independent agency of the government of the United States created to influence U.S. public opinion regarding American participation in World War I. Over just 28 months, from April 14, 1917, to June 30, 1919, it used every medium available to create enthusiasm for the war effort and enlist public support against foreign attempts to undercut America's war aims. It primarily used propaganda techniques to accomplish these goals.”
“The purpose of the CPI was to influence American public opinion toward supporting U.S. participation in World War I via a prolonged propaganda campaign. The CPI at first used material that was based on fact, but spun it to present an upbeat picture of the American war effort. In his memoirs, Creel claimed that the CPI routinely denied false or undocumented atrocity reports, fighting the crude propaganda efforts of "patriotic organizations" like the National Security League and the American Defense Society that preferred "general thundering" and wanted the CPI to "preach a gospel of hate."
The committee used newsprint, posters, radio, telegraph, cable and movies to broadcast its message. It recruited about 75,000 "Four Minute Men," volunteers who spoke about the war at social events for an ideal length of four minutes, considering that the average human attention span was judged at the time to be four minutes. They covered the draft, rationing, war bond drives, victory gardens and why America was fighting. It was estimated that by the end of the war, they had made more than 7.5 million speeches to 314 million people in 5,200 communities. They were advised to keep their message positive, always use their own words and avoid "hymns of hate." For ten days in May 1917, the Four Minute Men were expected to promote "Universal Service by Selective Draft" in advance of national draft registration on June 5, 1917.
The CPI staged events designed for specific ethnic groups. For instance, Irish-American tenor John McCormack sang at Mount Vernon before an audience representing Irish-American organizations. The Committee also targeted the American worker and, endorsed by Samuel Gompers, filled factories and offices with posters designed to promote the critical role of American labor in the success of the war effort.
The CPI's activities were so thorough that historians later stated, using the example of a typical midwestern American farm family, that
Every item of war news they saw—in the country weekly, in magazines, or in the city daily picked up occasionally in the general store—was not merely officially approved information but precisely the same kind that millions of their fellow citizens were getting at the same moment. Every war story had been censored somewhere along the line— at the source, in transit, or in the newspaper offices in accordance with ‘voluntary’ rules established by the CPI.
Rejection of the word 'propaganda'
Creel wrote about the Committee's rejection of the word propaganda, saying: "We did not call it propaganda, for that word, in German hands, had come to be associated with deceit and corruption. Our effort was educational and informative throughout, for we had such confidence in our case as to feel that no other argument was needed than the simple, straightforward presentation of facts."”
“Lieutenant General William Wilson "Buffalo Bill" Quinn (November 1, 1907 – September 11, 2000) was a United States Army officer, who served in intelligence during World War II. Born in Crisfield, Somerset, Maryland and a 1933 graduate of West Point, Quinn retired as a lieutenant general on March 1, 1966 as the commanding general of the Seventh United States Army. He died in Washington, DC at Walter Reed Army Hospital at 92 years old.”
“Quinn participated in the Battle of the Bulge, Operation Dragoon and on January 1, 1945 he was part of Operation Northwind.
Quinn was in Korea from 1951 to 1952 and in August 1951 Quinn was wounded in Korea. While in Korea he won and was awarded the Silver Star, Legion of Merit and the Bronze Star with the "V" Device. He was also in the Battle of Inchon. While he was in Korea he was the commanding Officer of the 17th Infantry Regiment which was part of the 7th Infantry Division (the 17th Infantry was, and still is, nicknamed "the Buffalo’s”)”
THE MAYPOLE REPRESENTS THE WORLD AXIS
"The axis mundi (also cosmic axis, world axis, world pillar, center of the world, world tree), in certain beliefs and philosophies, is the world center, or the connection between Heaven and Earth. As the celestial pole and geographic pole, it expresses a point of connection between sky and earth where the four compass directions meet. At this point travel and correspondence is made between higher and lower realms. Communication from lower realms may ascend to higher ones and blessings from higher realms may descend to lower ones and be disseminated to all. The spot functions as the omphalos (navel), the world's point of beginning." https://en.wikipedia.org/wiki/Axis_mundi
SKULL & BONES: Early Special Effects: You Will Believe Men Can Swim Underwater
The Definitive Treaty of Peace 1783
"In the Name of the most Holy & undivided Trinity."
“It having pleased the Divine Providence to dispose the Hearts of the most Serene and most Potent Prince George the Third, by the Grace of God, King of Great Britain, France, and Ireland, Defender of the Faith, Duke of Brunswick and Lunebourg, Arch- Treasurer and Prince Elector of the Holy Roman Empire etc.. and of the United States of America, to forget all past Misunderstandings and Differences that have unhappily interrupted the good Correspondence and Friendship which they mutually wish to restore;”
It is agreed that Creditors on either Side shall meet with no lawful Impediment to the Recovery of the full Value in Sterling Money of all bona fide Debts heretofore contracted.”
The Navigation of the river Mississippi, from its source to the Ocean, shall forever remain free and open to the Subjects of Great Britain and the Citizens of the United States.”
".On 4 May 1493 Pope Alexander VI (Rodrigo Borgia), an Aragonese from Valencia by birth, decreed in the bull Inter caetera that all lands west and south of a pole-to-pole line 100 leagues west and south of any of the islands of the Azores or the Cape Verde Islands should belong to Castile, although territory under Catholic rule as of Christmas 1492 would remain untouched. The bull did not mention Portugal or its lands, so Portugal could not claim newly discovered lands even if they were east of the line. Another bull, Dudum siquidem, entitled Extension of the Apostolic Grant and Donation of the Indies and dated 25 September 1493, gave all mainlands and islands, "at one time or even yet belonged to India" to Spain, even if east of the line.
The Portuguese King John II was not pleased with that arrangement, feeling that it gave him far too little land—it prevented him from possessing India, his near term goal. As of 1493, Portuguese explorers had already reached the southern tip of Africa, the Cape of Good Hope. The Portuguese were unlikely to go to war over the islands encountered by Columbus, but the explicit mention of India was a major issue. With the failure of the Pope to make changes, the Portuguese king opened direct negotiations with the Catholic Monarchs, the King Ferdinand and the Queen Isabella, to move the line to the west and allow him to claim newly discovered lands east of the line. In the bargain, John accepted Inter caetera as the starting point of discussion with Ferdinand and Isabella, but had the boundary line moved 270 leagues west, protecting the Portuguese route down the coast of Africa and giving the Portuguese rights to lands that now constitute the Eastern quarter of Brazil. As one scholar assessed the results, "both sides must have known that so vague a boundary could not be accurately fixed, and each thought that the other was deceived, [concluding that it was a] diplomatic triumph for Portugal, confirming to the Portuguese not only the true route to India, but most of the South Atlantic".
The treaty effectively countered the bulls of Alexander VI but was subsequently sanctioned by Pope Julius II by means of the bull Ea quae pro bono pacis of 24 January 1506. Even though the treaty was negotiated without consulting the Pope, a few sources call the resulting line the "Papal Line of Demarcation". https://en.wikipedia.org/wiki/Treaty_of_Tordesillas
X MARKS THE SPOT: THE BURIED TREASURE IS THE TRUTH ABOUT THE FEDERAL TAX SYSTEM & WHY YOU THINK YOU MUST PAY YOUR TAXES & WHAT YOU THINK YOU ARE PAYING FOR
The Spirit of '43 is an American animated World War II propaganda film created by Walt Disney Studios in 1942 and released in January 1943. The film stars Donald Duck, and arguably contains the first appearance of the character Scrooge McDuck, although Scrooge is not named in the film. It is a sequel to The New Spirit. The purpose of the film is to encourage patriotic Americans to file and pay their income taxes faithfully in order to help the war effort. The repeated theme in the film is "Taxes...To Defeat the Axis."
Douglas Fairbanks film, The Black Pirate, circa 1926, swimming underwater special effects (video) clip, below:
"John Whitney, Sr was an American animator, composer and inventor, widely considered to be one of the fathers of computer animation. In the '40s and '50s, he and his brother James created a series of experimental films made with a custom-built device based on old anti-aircraft analog computers (Kerrison Predictors) connected by servos to control the motion of lights and lit objects — the first example of motion control photography. One of Whitney's best known works from this early period was the animated title sequence from Alfred Hitchcock's 1958 film Vertigo, which he collaborated on with graphic designer Saul Bass. In 1960, Whitney established his company Motion Graphics Inc, which largely focused on producing titles for film and television, while continuing further experimental works. In 1968, his pioneering motion control model photography was used on Stanley Kubrick's movie 2001: A Space Odyssey, and also for the slit-scan photography technique used in the film's "Star Gate" finale. All of John Whitney's sons (Michael, Mark and John Jr.) are also film-makers. John Whitney died in 1995."
THE HISTORY OF FILM SPECIAL EFFECTS - Chapter Nine - "The 20TH CENTURY"
CRAY SUPER COMPUTER
"Seymour Cray began working in the computing field in 1950 when he joined Engineering Research Associates (ERA) in Saint Paul, Minnesota. There, he helped to create the ERA 1103. ERA eventually became part of UNIVAC, and began to be phased out. He left the company in 1960, a few years after former ERA employees set up Control Data Corporation (CDC). He eventually set up a lab at his home in Chippewa Falls, Wisconsin, about 85 miles to the east. Cray had a string of successes at CDC, including the CDC 6600 and CDC 7600."
COMPUTER GRAPHICS or CGI
"The phrase “computer graphics” itself was coined in 1960 by William Fetter, a graphic designer for Boeing. This old quote in many secondary sources comes complete with the following sentence: (Fetter has said that the terms were actually given to him by Verne Hudson of the Wichita Division of Boeing.)" https://en.wikipedia.org/wiki/Computer_graphics#1960s
“Boeing’s work on missiles, which began in 1945, resulted in such weapons as the silo-launched Minuteman intercontinental ballistic missile (deployed in 1962) and the AGM-86B/C air-launched cruise missile (deployed in 1982).
In the space sector during the 1960s and ’70s, Boeing built the Lunar Orbiters, NASA’s first spacecraft to orbit the Moon (1966–67), and the Mariner 10 space probe, which took the first close-up pictures of the surface of Mercury (1974–75). It also designed and built the first stage of the Saturn V rockets that sent Apollo astronauts to the Moon and the battery-powered Lunar Roving Vehicles used in the Apollo 15, 16, and 17 missions. In 1976 it entered the upper-stage-rocket arena when it was selected to develop the Inertial Upper Stage (IUS), a two-stage payload delivery vehicle that can be taken into space by either a space shuttle or a launcher such as the Titan. In 1993 NASA selected..."
The International Space Station
"...Boeing as the prime contractor for the ISS, and two years later the company became responsible for the integration and verification of ISS systems and the design, analysis, manufacture, verification, and delivery of the American components of the station.
In the 1960s and ’70s Boeing also diversified into areas such as marine craft (hydrofoils), transit systems, energy production, and agriculture but later refocused on aerospace. In 1981 the company first flew its twin-engine, wide-body Boeing 767, followed by its twin-engine, single-aisle 757 the next year. By featuring a common flight deck for the two aircraft, pilots who trained and qualified on one plane could also fly the other, thus reducing cost and increasing productivity for carriers. This concept of commonality also applied to more than 40 percent of all 757-767 parts. For its next jetliner, the twin-engine, wide-body 777, Boeing involved several key airlines in the development process in order to ensure that market needs and customer preferences were satisfied. Advances in computers and computer-aided design and manufacturing (CAD/CAM) software allowed Boeing to develop the 777 entirely on computers without having to build a physical mock-up of the airplane. The first flight took place in 1994.
In 1991 the U.S. Air Force chose a design offered by a consortium comprising Lockheed (later Lockheed Martin), Boeing, and General Dynamics for a twin-engine advanced tactical fighter with stealth features; the aircraft was named the F-22 Raptor and was first flown in 1997. In 1996 Boeing and Lockheed Martin received U.S. defense contracts to build competitive technology demonstrators for the Joint Strike Fighter, intended as an affordable, next-generation, multirole fighter for the armed services of the United States and Britain. In 1995 Boeing joined Ukrainian, Russian, and Anglo-Norwegian partners to form Sea Launch, a commercial launch services company that sent satellites into geostationary orbit from a floating platform at an equatorial site in the Pacific Ocean. Commercial launches began in 1999. In 2000 Boeing acquired the satellite business of Hughes Electronics.”
You Can’t Trust Them:
The Problem is that the same people who developed aircraft in the first place, also developed Hollywood Film Special Effect technology and eventually Computer Graphic technology.
So some of the science and some of the aircraft are fantasy and not remotely real.
"The Flying Fortress was designed in response to a USAAC competition, announced on August 6, 1934, to find a modern replacement for the assorted twin-engine Keystone biplane bombers and greater performance than the Martin B-10. While the performance of the B-10 was considered adequate at the time, the Keystones lumbered along at about 115 mph (185 km/h), were very unmaneuverable, lightly armed and carried only a limited bomb load.1 The requirement was for a multi-engine bomber to be used for coastal-defense.
Specifications required were:
- Range of at least 1,020 miles (1,640 km).
- Speed of 200 to 250 mph (322 to 402 km/h).
- Bomb load of 2,000 lb (907 kg).
A Boeing design team began work on the Model 299 prototype in June 1934 and construction began in August of the same year. The most significant rival to the Model 299 was the Douglas DB-1, which was based on the Douglas DC-2. The third competitor was the Martin 146.
The 299 would be built at Boeing’s expense and there would be no reimbursement if it did not win a contract. After Boeing failed to win a contract to produce the Boeing B-9, the Model 299 was a make-or-break gamble for Boeing."
HOWARD HUGHES FilM, AEROSPACE & ELECTRONiCS, The History of Direct TV
"In 1953, Howard Hughes created the Howard Hughes Medical Institute (HHMI), to which he transferred full ownership of Hughes Aircraft. Ostensibly created as a non-profit medical research foundation, HHMI was accused of being used by Hughes as a tax shelter. Following Hughes' death in 1976, HHMI was incorporated in 1977, and litigation ensued to determine whether it would be allowed to maintain its interest in Hughes Aircraft. In 1984, the court appointed a new board for HHMI, which proceeded to sell off Hughes Aircraft to General Motors on December 20, 1985, for an estimated $5.2 billion. General Motors then merged Hughes Aircraft with its subsidiary Delco Electronics to create Hughes Electronics Corporation. The new subsidiary was initially composed of four units: Delco Electronics Company, Hughes Aircraft Company, Hughes Space and Communications Company, and Hughes Network Systems.
Stanley E. Hubbard founded United States Satellite Broadcasting (USSB) in 1981 and was a leading proponent for the development of direct-broadcast satellite service in the United States. USSB was awarded five frequencies by the FCC, at the coveted 101 degree west satellite location. Hughes Communications, Inc. was also awarded 27 frequencies at the same 101-degree location. After many years, the technology was developed to enable the building of very high-power satellites, and digital compression (MPEG-2) standards were developed that allowed multiple digital television channels to be sent through each satellite frequency.
After Hughes failed to complete a joint venture with NBC, News Corp., and Cablevision in 1990, to launch the first high-power digital television service called Sky Cable, the company created DirecTV as a separate division and secured an agreement with USSB to build and launch the first high-power direct-broadcast satellite system. DirecTV's name is a portmanteau of "direct" and "TV" (as in direct broadcast satellite television). Hughes/DirecTV then turned to Thomson Consumer Electronics (under the RCA, GE, and ProScan brands) to develop the digital satellite system for the service that would be capable of receiving 175 channels on a small 18-inch dish. These dishes utilized a new generation of smaller, lighter receiver dishes based on military technology introduced by the Global Broadcast System, which predated DirecTV's viability by almost ten years. Hughes was awarded the contract to build and launch the new high-powered satellites, and USSB and DirecTV agreed that the new satellites would carry the two separate programming services: USSB and DirecTV.
On June 17, 1994, the USSB and DirecTV programming services were launched. Digital Equipment Corporation provided the hardware for DirecTV, Matrixx Marketing (part of Cincinnati Bell) provided customer care via the Matrixx Plus department, and DBS Systems created the billing software. In December 1998, DirecTV acquired USSB for $1.3 billion, and combined the two satellite services. In 1999, DirecTV acquired PrimeStar, a competitor in the satellite television industry, for $1.83 billion, dramatically increasing its share of the satellite television market in the US.
In September 1996, Hughes purchased 70% of PanAmSat for $3 billion. In 1997, GM spun off Delco Electronics from Hughes and transferred it to Delphi Automotive Systems. That same year, Hughes Aircraft was sold to Raytheon for $9.5 billion. Raytheon filed a lawsuit in 1999 accusing Hughes of overstating the value of Hughes Aircraft by $1 billion. A $635.5-million settlement was reached in 2001. In 2000, Hughes Space and Communications was sold to Boeing for $3.75 billion, which it later claimed had also been overvalued by Hughes. Hughes later settled with Boeing for $360 million. These sales left DirecTV, PanAmSat and Hughes Network Systems as the remaining components of Hughes Electronics.
In September 2000, GM executives, under pressure from GM's shareholders as a result of its poor performance and the substantially greater market worth of Hughes, authorized Hughes executives to begin seeking buyers. In 2001, News Corporation began negotiations to acquire Hughes Electronics in a deal worth $8 billion, which would allow News Corp. to expand its Sky Global Networks satellite television operations into the United States. Negotiations with News Corp. ultimately failed, and Hughes entered into an agreement on October 28, 2001 to be purchased for $26 billion by EchoStar, owner of Dish Network. However, the deal attracted significant opposition from the Department of Justice and the Federal Communications Commission for antitrust concerns, leading the two companies to withdraw the agreement in December 2002. As part of the merger agreement, EchoStar was required to pay Hughes $600 million for the failure of the merger.
On April 9, 2003, News Corporation agreed to purchase a 34% controlling interest in Hughes, including GM's entire share of the company, for $6.6 billion, subject to SEC approval. As part of the financing for the deal, Liberty Media agreed to take a $500-million option of stock in News Corporation that would be exercised upon the closing of the deal. Liberty, the second-largest shareholder in News Corp. after the Murdoch family with 18%, had originally planned to bid for DirecTV, but opted not to upon the agreement. The FCC voted 3-2 along party lines on December 19, 2003 to approve the deal subject to conditions, forcing News Corp. to agree to arbitration for all disputes with carriers of its media broadcasters, and to provide content through DirecTV neutrally rather than favoring its own networks."
"Real3D, Inc. was a maker of arcade graphics boards, a spin-off from Lockheed Martin. The company made several 3D hardware designs that were used by Sega, the most widely used being the graphics hardware in the Sega Model 2 and Model 3 arcade systems. A partnership with Intel and SGI led to the Intel740 graphics card, which was not successful in the market. Rapid changes in the marketplace led to the company being sold to Intel in 1999."
"The majority of Real3D was formed by research and engineering divisions originally part of GE Aerospace. Their experience traces its way back to the Project Apollo Visual Docking Simulator, the first full-color 3D computer generated image system. GE sold similar systems of increasing complexity through the 1970s, but were never as large as other companies in the simulator space, like Singer Corporation or CAE.
When "neutron" Jack Welch took over General Electric in 1981 he demanded that every division in the company be 1st or 2nd in its industry, or face being sold off. GE Aerospace lasted longer than many other divisions, but was eventually sold off to Martin Marietta in 1992. In 1995, Martin Marietta and Lockheed merged to form Lockheed Martin Corporation, the world’s largest defense contractor.
Following the merger, Lockheed Martin decided to market their graphics technology for civilian use. In January 1995 they set up Real3D and formed a relationship with Sega. This led to the company's most successful product run, designing the 3D hardware using in over 200,000 Sega Model2 and Model3 arcade systems, two of the most popular systems in history.
The company also formed a partnership with Intel and Chips and Technologies to introduce similar technology as an add-in card for PC's, a project known as "Auburn". This project became a showcase for the Accelerated Graphics Port system being introduced by Intel, which led to several design decisions that hampered the resulting products. Released in 1998 as the Intel740, the system lasted less than a year in the market before being sold off under the StarFighter and Lightspeed brandnames.
By 1999 both relationships were ending, and Lockheed Martin was focussing on its military assets. On 1 October 1999 the company closed, and its assets were sold to Intel on the 14th. ATI hired many of the remaining employees for a new Orlando office. 3dfx Interactive had sued Real3D on a patent basis, and Intel's purchased moved the lawsuits to the new owner. Intel settled the issue by selling all of the intellectual property back to 3dFX.
By this point, nVidia had acquired all of SGI's graphics development resources, which included a 10% share in Real3D. This led to series of lawsuits, joined by ATI. The two companies were involved in lawsuits over Real3D's patents until a 2001 cross-licensing settlement."
"NViDiA's new GPU proves moon landing truthers wrong"
"Despite overwhelming evidence to the contrary, there still exist some people on planet Earth who believe it's the only celestial body humanity has ever walked upon. You've heard it before -- the moon landing was a hoax, a mere TV drama produced by Stanley Kubrick presented as fact to dupe the Soviet Union into giving up the space race. This deliciously ludicrous conspiracy theory has been debunked countless times, but now its advocates have one more refutation to deny: NVIDIA's Voxel Global Illumination tech demo. It's a GPU-powered recreation of the Apollo 11 landing site that uses dynamic lighting technology to address common claims of moon-deniers, and it's pretty neat."
From Sewing Machines to GPS: The History of Singer
"In the 1960s the company diversified, acquiring the Friden calculator company in 1965, Packard Bell Electronics in 1966 and General Precision Equipment Corporation in 1968. GPE included Librascope, The Kearfott Company, Inc, and Link Flight Simulation. In the 1968 also Singer bought out GPS Systems and added it to the Link Simulations Systems Division (LSSD). This unit produced nuclear power plant control center simulators in Silver Spring, MD; while flight simulators were produced in Binghamton, New York.
In 1987, corporate raider, Paul Bilzerian, made a "greenmail" run at Singer, and ended up owning the company when no "White Knight" rescuer appeared. To recover his money, Bilzerian sold off parts of the company. Kearfott was split, the Kearfott Guidance & Navigation Corporation was sold to the Astronautics Corporation of America in 1988 and the Electronic Systems Division was purchased by GEC-Marconi in 1990, renamed GEC-Marconi Electronic Systems (and later incorporated into BAE Systems). The Sewing Machine Division was sold in 1989 to Semi-Tech Microelectronics, a publicly traded Toronto-based company.
For several years in the 1970s, Singer set up a national sales force for CAT phototypesetting machines (of UNIX troff fame) made by another Massachusetts company, Graphic Systems Inc. This division was purchased by Wang Laboratories in 1978.
Do Be a 'CAD'
"Designers have long used computers for their calculations. Digital computers were used in power system analysis or optimization as early as proto-"Whirlwind" in 1949. Circuit design theory, or power network methodology would be algebraic, symbolic, and often vector-based. Examples of problems being solved in the mid-1940s to 50s include, Servo motors controlled by generated pulse (1949), The digital computer with built-in compute operations to automatically co-ordinate transforms to compute radar related vectors (1951) and the essentially graphic mathematical process of forming a shape with a digital machine tool (1952). These were accomplished with the use of computer software. The man credited with coining the term CAD. Douglas T. Ross stated "As soon as I saw the interactive display equipment, [being used by radar operators 1953]. The designers of these very early computers built utility programs so that programmers could debug programs using flow charts on a display scope with logical switches that could be opened and closed during the debugging session. They found that they could create electronic symbols and geometric figures to be used to create simple circuit diagrams and flow charts. They made the pleasant discovery that an object once drawn could be reproduced at will, its orientation, Linkage [ flux, mechanical, lexical scoping ] or scale changed. This suggested numerous possibilities to them. It took ten years of interdisciplinary development work before SKETCHPAD sitting on evolving math libraries emerged from MIT`s labs. Additional developments were carried out in the 1960s within the aircraft, automotive, industrial control and electronics industries in the area of 3D surface construction, NC programming and design analysis, most of it independent of one another and often not publicly published until much later. Some of the mathematical description work on curves was developed in the early 1940s by Robert Issac Newton from Pawtucket, Rhode Island. Robert A. Heinlein in his 1957 novel The Door into Summer suggested the possibility of a robotic Drafting Dan. However, probably the most important work on polynomial curves and sculptured surface was done by Pierre Bézier, Paul de Casteljau (Citroen), Steven Anson Coons (MIT, Ford), James Ferguson (Boeing), Carl de Boor(GM), Birkhoff (GM) and Garibedian (GM) in the 1960s and W. Gordon (GM) and R. Riesenfeld in the 1970s.
The invention of the 3D CAD/CAM is attributed to a French engineer, Pierre Bezier (Arts et Métiers ParisTech, Renault). After his mathematical work concerning surfaces, he developed UNISURF, between 1966 and 1968, to ease the design of parts and tools for the automotive industry. Then, UNISURF became the working base for the following generations of CAD software.
It is argued that a turning point was the development of the SKETCHPAD system at MIT by Ivan Sutherland (who later created a graphics technology company with Dr. David Evans). The distinctive feature of SKETCHPAD was that it allowed the designer to interact with his computer graphically: the design can be fed into the computer by drawing on a CRT monitor with a light pen. Effectively, it was a prototype of graphical user interface, an indispensable feature of modern CAD. Sutherland presented his paper Sketchpad: A Man-Machine Graphical Communication System in 1963 at a Joint Computer Conference having worked on it as his PhD thesis paper for a few years. Quoting,"For drawings where motion of the drawing, or analysis of a drawn problem is of value to the user, Sketchpad excels. For highly repetitive drawings or drawings where accuracy is required, Sketchpad is sufficiently faster than conventional techniques to be worthwhile. For drawings which merely communicate with shops, it is probably better to use conventional paper and pencil." Over time efforts would be directed toward the goal of having the designers drawings communicate not just with shops but with the shop tool itself. This goal would be a long time arriving.
The first commercial applications of CAD were in large companies in the automotive and aerospace industries, as well as in electronics. Only large corporations could afford the computers capable of performing the calculations. Notable company projects were, a joint project of GM (Dr. Patrick J.Hanratty) and IBM (Sam Matsa , Doug Ross`s MIT APT research assistant) to develop a prototype system for design engineers DAC-1 (Design Augmented by Computer) 1964; Lockheed projects; Bell GRAPHIC 1 and Renault.
One of the most influential events in the development of CAD was the founding of MCS (Manufacturing and Consulting Services Inc.) in 1971 by Dr. P. J. Hanratty, who wrote the system ADAM (Automated Drafting And Machining) but more importantly supplied code to companies such as McDonnell Douglas (Unigraphics), Computervision (CADDS), Calma, Gerber, Autotrol and Control Data.
As computers became more affordable, the application areas have gradually expanded. The development of CAD software for personal desktop computers was the impetus for almost universal application in all areas of construction.
CAD implementations have evolved dramatically since then. Initially, with 3D in the 1970s, it was typically limited to producing drawings similar to hand-drafted drawings. Advances in programming and computer hardware, notably solid modeling in the 1980s, have allowed more versatile applications of computers in design activities.
Key products for 1981 were the solid modelling packages - Romulus (ShapeData) and Uni-Solid (Unigraphics) based on PADL-2 and the release of the surface modeler CATIA (Dassault Systemes). Autodesk was founded 1982 by John Walker, which led to the 2D system AutoCAD. The next milestone was the release of Pro/ENGINEER in 1987, which heralded greater usage of feature-based modeling methods and parametric linking of the parameters of features. Also of importance to the development of CAD was the development of the B-rep solid modeling kernels (engines for manipulating geometrically and topologically consistent 3D objects) Parasolid (ShapeData) and ACIS (Spatial Technology Inc.) at the end of the 1980s and beginning of the 1990s, both inspired by the work of Ian Braid. This led to the release of mid-range packages such as SolidWorks and TriSpective (later known as IRONCAD) in 1995, Solid Edge (then Intergraph) in 1996 and Autodesk Inventor in 1999. An independent geometric modeling kernelhas been evolving in Russia since the 1990s. Nikolay Golovanov joined ASCON Company in 1994 from the Kolomna Engineering Design Bureauand began development of C3D – the geometric kernel of the Russian popular CAD system, KOMPAS-3D. Nowadays, C3D (C3D Labs) is the most valued Russian CAD product in the category of "components", i.e. products designed for integration in the end-user CAD systems of Russian and global vendors."
Creating Fluid Simulations
"In computer graphics, the earliest attempts to solve the Navier-Stokes equations in full 3D came in 1996, by Nick Foster and Dimitris Metaxas, who based their work primarily on a classic CFD paper from 1965 by Harlow & Welch. Prior to this, many methods were built on ad-hoc particle systems, lower dimensional techniques such as 2D shallow water models, and semi-random turbulent noise fields. In 1999, Jos Stam published the so-called Stable Fluids method at SIGGRAPH, which exploited a semi-Lagrangian advection technique and implicit integration of viscosity to provide unconditionally stable behaviour. This allowed for much larger time steps and in general, faster simulations. This general technique was extended by Fedkiw & collaborators to handle complex 3D water simulations using the level set method in papers in 2001 and 2002.
WHY FAKE IT? Newton & Einstein are Wrong!
A= a number that will increase forever
B = 3
Can A always = B?
The Proverbial Apple Proves Newton Wrong. The Apple will fall to the Earth, the Moon will not.
Using Gravity To Explain Celestial Motions Is Wrong
Einstein & Newton Both Made the Same Mistake:
They claim an accelerated (ever increasing) velocity can be balanced by a (fixed) constant velocity. This is obviously, conceptually and logically flawed reasoning despite any mathematical model fudgery.
NASA & Stanley’s Strange Doctored Love Affair
NASA could have gone to many Hollywood effect guys, they did not need Stanley specifically. In other words the individual does not matter. Kubrick is one of many people who could have been employed to create space fakery. Orson Welles is someone most think only fooled them with the Mars invasion hoax, but how can we be sure he didn't also help NASA out?…look up what Orson was doing during the early era of the Space Race.
"He continued shooting Don Quixote in Spain and Italy, but replaced Mischa Auer with Francisco Reiguera, and resumed acting jobs. In Italy in 1959, Welles directed his own scenes as King Saul in Richard Pottier's film David and Goliath. In Hong Kong he co-starred with Curt Jürgens in Lewis Gilbert's film Ferry to Hong Kong. In 1960, in Paris he co-starred in Richard Fleischer's film Crack in the Mirror. In Yugoslavia he starred in Richard Thorpe's film The Tartars and Veljko Bulajić's Battle of Neretva.”
“Throughout the 1960s, filming continued on Quixote on-and-off until the decade, as Welles evolved the concept, tone and ending several times. Although he had a complete version of the film shot and edited at least once, he would continue toying with the editing well into the 1980s, he never completed a version film he was fully satisfied with, and would junk existing footage and shoot new footage. (In one case, he had a complete cut ready in which Quixote and Sancho Panza end up going to the moon, but he felt the ending was rendered obsolete by the 1969 moon landings, and burned 10 reels of this version.) As the process went on, Welles gradually voiced all of the characters himself and provided narration. In 1992, the director Jesús Franco constructed a film out of the portions of Quixote left behind by Welles. Some of the film stock had decayed badly. While the Welles footage was greeted with interest, the post-production by Franco was met with harsh criticism."
"The Apollo program, also known as Project Apollo, was the third United States human spaceflight program carried out by the National Aeronautics and Space Administration (NASA), which accomplished landing the first humans on the Moon from 1969 to 1972. First conceived during Dwight D. Eisenhower's administration as a three-man spacecraft to follow the one-man Project Mercury which put the first Americans in space, Apollo was later dedicated to President John F. Kennedy's national goal of "landing a man on the Moon and returning him safely to the Earth" by the end of the 1960s, which he proposed in an address to Congress on May 25, 1961.”
“NASA Apollo Program duration
AS-201, February 26, 1966
First crewed flight
Apollo 7, October 11–22, 1968
Apollo 17, December 7–19, 1972“
“Kennedy's goal was accomplished on the Apollo 11 mission when astronauts Neil Armstrong and Buzz Aldrin landed their Lunar Module (LM) on July 20, 1969, and walked on the lunar surface, while Michael Collins remained in lunar orbit in the Command/Service Module (CSM), and all three landed safely on Earth on July 24. Five subsequent Apollo missions also landed astronauts on the Moon, the last in December 1972. In these six spaceflights, twelve men walked on the Moon."
Seems like a literary jest to me.
Read the Orson Welles Don Quixote film making "horror" story and consider how it sound just like Terry Gilliam’s story. Hmmm. Gilliam is a Monty Pythonic kind of cartoonist kind of director guy. Funny that.
We are to really believe that an expert and highly regarded film maker and long time actor, radio personality, talk show kind of professional guy like Orson Welles was a dumb artist who didn’t know a thing about film making at all. Consider how ridiculous and obvious the Don Quixote stories are. The reference to literature is an obvious joke. This is nothing but university level humor thrown in our faces and over the heads of most of us brain dead zombies. This is not how you make films and everyone knows it. Even documentaries are more planned out than most think and this is public knowledge and not some secret. All the media noise makes it easy to overlook the obvious and to check one’s brain at the door as one has been conditioned to do so.
What makes more sense was to hire the stage magician radio performer guy to make use of the newer Medium of Television to continue his job and role as social shepherd.
He foolishly is supposed to have spent over a decade pursuing a quixotic vision. The literary reference is echoed with a Twin quixotic venture by another film maker around the year 2001 or so…
"Lost in La Mancha is a 2002 documentary film about Terry Gilliam's unfinished film The Man Who Killed Don Quixote, a film adaptation of the novel Don Quixote by Miguel de Cervantes. It was shot in 2000 during Gilliam's first attempt to make the film with the purpose of being its making-of, but Gilliam's failure in making the movie led it to be retitled Lost in la Mancha and to be released independently."
"CAE Inc. (formerly Canadian Aviation Electronics) is a Canadian manufacturer of simulation technologies, modelling technologies and training services to airlines, aircraft manufacturers, defense customers, mining companies and healthcare specialists. In 2012 the company's annual revenue was CAD $1.82 billion. CAE was founded in 1947, and has manufacturing operations and training facilities in 20 countries."
"CAE sells flight simulators and training devices to airlines, aircraft manufacturers and training centres. It licenses its simulation software to various market segments and has a professional services division.
The simulators include the basic, low level device version CAE Simfinity, and full-motion products such as the CAE 3000, 5000 & 7000. These simulators are available for commercial use.
In early 2001, CAE Inc. acquired BAE Systems's Flight Simulation and Training division, formerly known as Reflectone Inc. Reflectone Inc. was a publicly listed company founded in 1939, based in Tampa, Florida. They sold flight simulators to the military and provided pilot training on their premises. Additionally, motion simulators were also provided to the amusement industry, including Corkscrew Hill at Busch Gardens Williamsburg, Questor at Busch Gardens Tampa, and Wild Arctic at SeaWorld Orlando and SeaWorld San Diego. Throughout the 1980s Reflectone Inc. was experiencing financial difficulties, resulting in BAE Systems' acquisition of the firm in 1997.
On March 25, 2004, CAE Inc. won a $9.2-million contract to provide training services to maintain helicopters operated by the Australian Defence Forces."
CAE To Expand Italian UAV Fleet Training
"PARIS — Italy's efforts to expand the availability of crew training for its Predator and Reaper unmanned air vehicle fleet took a step forward Tuesday with the Air Force contracting Canadian simulator company CAE to upgrade a mission training simulator already ordered but not delivered."
It's Not Real, Video Games: A Simulated Reality
Why is the propeller located at the rear of the 'drone'? Is it supposed to be like a speed boat?
How much do you want to bet the whole Drone program is nothing but a video game interface and nothing more? Does this thing look like it could really fly? What about equal and opposite forces and the parts of Newton’s “Laws” that we can actually demonstrate? In other words, a fire arm has recoil.
The drone footage is not very believable.
It would seem that the missile would have to be small ( and posses a small mass) relative to the mass of the drone or the ballistic missile will cause too much of a recoil effect. For an object in the air this would logically seem to be more of an issue than for something braced on the Earth's surface itself.
“Recoil (often called knockback, kickback or simply kick) is the backward momentum of a gun when it is discharged. In technical terms, the recoil caused by the gun exactly balances the forward momentum of the projectile and exhaust gases (ejecta), according to Newton's third law. In most small arms, the momentum is transferred to the ground through the body of the shooter; while in heavier guns such as mounted machine guns or cannons, the momentum is transferred to the ground through its mount. In order to bring the gun to a halt, a forward counter-recoil force must be applied to the gun over a period of time. Generally, the counter-recoil force is smaller than the recoil force, and is applied over a time period that is longer than the time that the recoil force is being applied (i.e. the time during which the ejecta are still in the barrel of the gun). This imbalance of forces causes the gun to move backward until it is motionless.
A change in momentum results in a force, which according to Newton's second law is equal to the time derivative of the momentum of the gun. The momentum is equal to the mass of the gun multiplied by its velocity. This backward momentum is equal in magnitude, by the law of conservation of momentum, to the forward momentum of the ejecta (projectile(s), wad, propellant gases, etc...) from the gun. If the mass and velocity of the ejecta are known, it is possible to calculate a gun’s momentum and thus the energy. In practice, it is often simpler to derive the gun’s energy directly with a reading from a ballistic pendulum or ballistic chronograph.”
Where’s The Real Footage of the Drone Firing It’s Missiles, (from a test site) ?
Here's Some Footage...VERY EDITED FOOTAGE.
How exactly does the drone work? The propeller in the rear of the craft seems to be absurd and in footage of the drone landing, this propeller looks as if it spins quite slow.
This is an aircraft not a motor boat. The propeller located at the rear would seem to be a bad idea and would not be able to propel the drone anywhere.
"Most UAVs use an old-fashioned radio frequency front-end, that connects the antenna to the analog-to-digital converter and a flight computer which controls avionics (and which may be capable of autonomous or semi-autonomous operation)."
The Drone Program is Supposed to Use Digital Technology. Digital Technology Means a Delay. It’s called Digital Latency. There’s a delay between sending the signal to the drone and then there’s going to be a delay with the signal and video signal being sent back to the operator who is supposed to be half way around the world. It’s one thing to use an analog radio control aircraft within sight distance, it’s another to claim to be able to control these drones from a computer interface half way around the world, by way of the electronic communication infrastructure.
The larger the drone the more difficult it will be to remote control, there is the medium of air that surrounds the drone, a bumble bee is more agile than an eagle and remote controlling a plastic helicopter drone in your backyard is a far cry from piloting a U.S. Military drone.
“In military systems, which drove the duplex communications, and high-end domestic applications, downlink may also convey payload management status and other advanced features. In the domestic-UAV field, the teletransmission pattern still usually remains as control commands issued from the operator's transmitter (TX) toward the UAV receiver (RX), downstream consisting mainly in analog video content, from the UAV video emitter (VTX) to the operator's video receiver (VRX). Telemetry is another kind of downstream link, transmitting status about the aircraft systems to the remote operator. UAVs use also satellite "uplink" to access satellite navigation.
The radio signal from the operator side can be issued from either:
a ground control – a human operating a radio transmitter/receiver, a smartphone, a tablet, a computer, or the original meaning of a military ground control station (GCS). Recently control from wearable devices, human movement recognition, human brain waves was also demonstrated.
A remote network system, like satellite duplex data links for some major military powers. Downstream digital video over mobile network has also entered consumer market recently, while direct UAV control uplink over the celullar mesh is being researched.
Another manned aircraft or UAV, serving as a nude relay or as a mobile control station - military manned-unmanned teaming (MUM-T) undergoes important research programs.” https://en.wikipedia.org/wiki/Unmanned_aerial_vehicle#Telecommunication_system
“Latency is a time interval between the stimulation and response, or, from a more general point of view, a time delay between the cause and the effect of some physical change in the system being observed. Latency is physically a consequence of the limited velocity with which any physical interaction can propagate. This velocity is always lower than or equal to the speed of light. Therefore, every physical system that has spatial dimensions different from zero will experience some sort of latency, regardless of the nature of stimulation that it has been exposed to.
The precise definition of latency depends on the system being observed and the nature of stimulation. In communications, the lower limit of latency is determined by the medium being used for communications. In reliable two-way communication systems, latency limits the maximum rate that information can be transmitted, as there is often a limit on the amount of information that is "in-flight" at any one moment. In the field of human–machine interaction, perceptible latency has a strong effect on user satisfaction and usability.”
This is illustrated when a news presenter in a studio talks with a reporter in a distant place. The signal travels from the newsreader via communication satellite situated in geosynchronous orbit to the reporter and then goes all the way back to geosynchronous orbit and then to the studio, resulting in a journey of over one hundred thousand kilometers . This full hop time lag is easily noticeable. Even though the signal travels at the speed of light, it still requires about half a second to travel that distance (not including the much smaller latencies inside the communications equipment).
Low-Earth orbit is sometimes used to cut this delay, at the expense of more complicated satellite tracking on the ground and requiring more satellites in the satellite constellation to ensure continuous coverage.”
see more: https://learn.sparkfun.com/tutorials/analog-vs-digital
"It's one of the most widely used photos online when talking about drones. It's scattered in thousands of blogs, discussions, and articles around the internet, and is the number one Google Image result for the word drone (as well as near the top for predator drone and unmanned drone). The only problem? The drone doesn't exist, and the widely used photograph (shown below with a less common version on the right) isn't a photograph at all, but rather a 3D render that someone put together years ago, that has somehow managed to become almost ubiquitous."
The bankers were only interested in getting communications working. Not anything else. This is why Tesla failed. He was trying to do more than just radio, he wanted to use the Earth as a conductor instead of using the power lines. There was no “free energy” and JP Morgan didn’t stop Tesla over that.
"In 1898, Tesla demonstrated a radio-controlled boat—which he dubbed "teleautomaton"—to the public during an electrical exhibition at Madison Square Garden. The crowd that witnessed the demonstration made outrageous claims about the workings of the boat, such as magic, telepathy, and being piloted by a trained monkey hidden inside. Tesla tried to sell his idea to the U.S. military as a type of radio-controlled torpedo, but they showed little interest. Remote radio control remained a novelty until World War I and afterward, when a number of countries used it in military programs. Tesla took the opportunity to further demonstrate "Teleautomatics" in an address to a meeting of the Commercial Club in Chicago, while he was travelling to Colorado Springs, on 13 May 1899."
1898: The U.S. Navy Rejects Radio Control
"In 1898, at an exhibition at Madison Square Garden, Nikola Tesla demonstrated a small unmanned boat that was radio controlled. In a bit of showmanship, Tesla entertained the audience to make it seem that the boat could apparently obey commands from the audience but it, was in fact, controlled by Tesla interpreting the verbal requests and sending appropriate frequencies to tuned circuits in the boat. John Hays Hammond Jr is regarded as the father of radio control due to experiments as an apprentice of Thomas Edison at the age of twelve. Hammond was a close friend of Tesla and they performed experiments together in his lab located in his castle. He learned a great deal from his exposure to Tesla. Tesla was granted a US patent on this invention on July 1, 1898. In 1903, the Spanish engineer Leonardo Torres y Quevedo presented the "Telekino" at the Paris Academy of Science, and was granted a patent in France, Spain, Great Britain and the United States. In 1904, Bat, a Windermere steam launch, was controlled using experimental radio control by its inventor, Jack Kitchen.
In 1909 the French inventor Gabet demonstrated what he called his "Torpille Radio-Automatique", a radio-controlled torpedo. In 1917, Archibald Low as head of the RFC Experimental Works, was the first person to use radio control successfully on an aircraft.
In the 1920s, various radio-controlled ships were used for naval artillery target practice. In 1922, the obsolete, US Navy battleship USS Iowa became the first of these target ships. Radio control gear, developed by the radio engineer John Hays Hammond, Jr., was installed before her sinking in gunnery exercise in March 1923.
The Soviet Red Army used remotely controlled teletanks during the 1930s in the Winter War against Finland and fielded at least two teletank battalions at the beginning of the Great Patriotic War. A teletank is controlled by radio from a control tank at a distance of 500–1,500 m, the two constituting a telemechanical group. There were also remotely controlled cutters and experimental remotely controlled planes in the Red Army. In the 1930s, the United Kingdom developed the radio-controlled Queen Bee, a remotely controlled unmanned Tiger Moth aircraft for a fleet's gunnery firing practice. The Queen Bee was superseded by the similarly named Queen Wasp, a purpose-built, target aircraft of higher performance."
U.F.O, Weather Balloons Controlled by Radio?
"The earliest examples of electronically guided model aircraft were hydrogen-filled model airships of the late 19th century. They were flown as a music hall act around theater auditoriums using a basic form of spark-emitted radio signal."
It's A Simulation Baby...
LOS ALAMOS NATiONAL LAB, NASA & FLUiD SiMS
"The fundamental basis of almost all CFD problems are the Navier–Stokes equations, which define any single-phase (gas or liquid, but not both) fluid flow. These equations can be simplified by removing terms describing viscous actions to yield the Euler equations. Further simplification, by removing terms describing vorticity yields the full potential equations. Finally, for small perturbations in subsonic and supersonic flows (not transonic or hypersonic) these equations can be linearized to yield the linearized potential equations.
Historically, methods were first developed to solve the linearized potential equations. Two-dimensional (2D) methods, using conformal transformations of the flow about a cylinder to the flow about an airfoil were developed in the 1930s.
One of the earliest type of calculations resembling modern CFD are those by Lewis Fry Richardson, in the sense that these calculations used finite differences and divided the physical space in cells. Although they failed dramatically, these calculations, together with Richardson's book "Weather prediction by numerical process", set the basis for modern CFD and numerical meteorology. In fact, early CFD calculations during the 1940s using ENIAC used methods close to those in Richardson's 1922 book.
The computer power available paced development of three-dimensional methods. Probably the first work using computers to model fluid flow, as governed by the Navier-Stokes equations, was performed at Los Alamos National Lab, in the T3 group. This group was led by Francis H. Harlow, who is widely considered as one of the pioneers of CFD. From 1957 to late 1960s, this group developed a variety of numerical methods to simulate transient two-dimensional fluid flows, such as Particle-in-cell method (Harlow, 1957), Fluid-in-cell method (Gentry, Martin and Daly, 1966), Vorticity stream function method (Jake Fromm, 1963), and Marker-and-cell method (Harlow and Welch, 1965). Fromm's vorticity-stream-function method for 2D, transient, incompressible flow was the first treatment of strongly contorting incompressible flows in the world.
The first paper with three-dimensional model was published by John Hess and A.M.O. Smith of Douglas Aircraft in 1967. This method discretized the surface of the geometry with panels, giving rise to this class of programs being called Panel Methods. Their method itself was simplified, in that it did not include lifting flows and hence was mainly applied to ship hulls and aircraft fuselages. The first lifting Panel Code (A230) was described in a paper written by Paul Rubbert and Gary Saaris of Boeing Aircraft in 1968. In time, more advanced three-dimensional Panel Codes were developed at Boeing (PANAIR, A502), Lockheed (Quadpan), Douglas (HESS), McDonnell Aircraft(MACAERO), NASA (PMARC) and Analytical Methods (WBAERO, USAERO and VSAERO). Some (PANAIR, HESS and MACAERO) were higher order codes, using higher order distributions of surface singularities, while others (Quadpan, PMARC, USAERO and VSAERO) used single singularities on each surface panel. The advantage of the lower order codes was that they ran much faster on the computers of the time. Today, VSAERO has grown to be a multi-order code and is the most widely used program of this class. It has been used in the development of many submarines, surface ships, automobiles, helicopters, aircraft, and more recently wind turbines. Its sister code, USAERO is an unsteady panel method that has also been used for modeling such things as high speed trains and racing yachts. The NASA PMARC code from an early version of VSAERO and a derivative of PMARC, named CMARC, is also commercially available."
"UNIVAC is the name of a line of electronic digital stored-program computers starting with the products of the Eckert-Mauchly Computer Corporation. Later the name was applied to a division of the Remington Rand company and successor organizations. UNIVAC is an acronym for UNIVersal Automatic Computer.
The BINAC, built by the Eckert-Mauchly Computer Corporation, was the first general-purpose computer for commercial use. The descendants of the later UNIVAC 1107 continue today as products of the Unisys company."
"J. Presper Eckert and John Mauchly built the ENIAC (Electronic Numerical Integrator and Computer) at the University of Pennsylvania's Moore School of Electrical Engineering between 1943 and 1946. A 1946 patent rights dispute with the university led Eckert and Mauchly to depart the Moore School to form the Electronic Control Company, later renamed Eckert-Mauchly Computer Corporation (EMCC), based in Philadelphia, Pennsylvania. That company first built a computer called BINAC (BINary Automatic Computer) for Northrop Aviation (which was little used, or perhaps not at all). Afterwards began the development of UNIVAC. UNIVAC was first intended for the Bureau of the Census, which paid for much of the development, and then was put in production.
With the death of EMCC's chairman and chief financial backer Harry L. Straus in a plane crash on October 25, 1949, EMCC was sold to typewriter maker Remington Rand on February 15, 1950. Eckert and Mauchly now reported to Leslie Groves, the retired army general who had managed the Manhattan Project."
THE OVERLOOKED (DISTRACTION) THEATER: PLATO'S CAVE AS CELESTIAL SPHERE, PLATO'S CAVE AS FILM (OR TV-COMPUTER) SCREEN
“Loren C. Carpenter (born February 7, 1947) is a computer graphics researcher and developer. He is co-founder and chief scientist of Pixar Animation Studios. He is the co-inventor of the Reyes rendering algorithm and is one of the authors of the PhotoRealistic RenderMan software which implements Reyes and renders all of Pixar's movies. Following Disney's acquisition of Pixar, Carpenter became a Senior Research Scientist at Disney Research. He retired in early 2014.
In around 1967 Carpenter began work at Boeing Computer Services (a part of aircraft maker Boeing) in Seattle, Washington. During his time there Carpenter studied for a B.S. in Mathematics (1974) and an M.S. in Computer Science (1976), both from the University of Washington. Some of his work concerned using computer technology to improve Boeing's mechanical design processes, which were still entirely done by hand on paper.
In 1980 he gave a presentation at the SIGGRAPH conference, in which he showed "Vol Libre", a 2-minute computer generated movie. This showcased his software for generating and rendering fractally generated landscapes, and was met with a standing ovation, and (as Carpenter had hoped) he was immediately invited to work at Lucasfilm's Computer Division (which would become Pixar). There Carpenter worked on the "genesis effect" scene of Star Trek II: The Wrath of Khan, which featured an entire fractally-landscaped planet.
He and his wife Rachel founded Cinematrix, a company that researches computer-assisted interactive audience participation.
Carpenter invented the A-buffer hidden surface determination algorithm.
The PXR24 compression scheme used in Industrial Light & Magic's Open EXR file format is based on Carpenter's work.
In 2006 made improvements to the popular Mersenne Twister random number generator.
Carpenter is a grandnephew of Charles Schmidt, the creator of Sgt. Pat of Radio Patrol, a nationally syndicated police comic strip which ran in the 1930s and 1940s.”
PiXAR Real Time CGI SYSTEM
"Beginning with Trinity, the very first nuclear test in 1945, there was an obvious need to document nuclear testing with still and moving pictures photography. The film was needed for the study and understanding of the behavior of nuclear weapons. In 1946, in support of Operation Crossroads, the first atomic bomb test in the Pacific, the joint task force conducting the test had pulled together a provisional photographic unit of still and motion picture photographers to document the test. Most of these photographers were part of a small detachment of the 1st Motion Picture Unit from Long Island, New York.
Operation Sandstone nuclear detonation
At the conclusion of Operation Crossroads, it was determined that a permanent photographic unit, providing specialized photography and sound recording, should be established, trained, equipped and organized to obtain scientific, technical and documentary photography of recurring atomic bomb tests. Brigadier General P.T. Cullen, who had commanded the Air Photo Unit on Operation Crossroads, was directed to find a site in the Los Angeles area suitable for the accomplishment of motion picture documentation of Joint Task Force 7 (JTF-7), Operation Sandstone. After an extensive survey of the Los Angeles area, the General chose the Air Force facility at 8935 Wonderland Avenue. The facility had been constructed on two acres of land in 1943 at a cost of $132,000 to house the Los Angeles Flight Control Center. After WW II, the Los Angeles Flight Control Center was closed and the grounds and building declared surplus to the needs of the Air Force. In the fall of 1947 the 1352d Motion Picture Squadron was activated at Lookout Mountain"
"On April 1, 1951 the Air Force established the Air Pictorial Service (APS) with the primary photo unit being the 4881st Motion Picture Squadron. All photography of atomic bomb tests was quickly transferred from the Air Proving Ground to the Air Pictorial Service which was under the command of Military Air Transport Service (MATS).
On April 16, 1952 the Air Pictorial Service was redesignated the Air Photographic and Charting Service (APCS). APCS was responsible for mapping the world and providing accurate aerial charts to military aviators of wherever they needed. It also produced all Air Force training films, public information films and monthly newsreels. On April 28, 1952, the 4881st Motion Picture Squadron was redesignated the 1352nd Motion Picture Squadron effective on May 1, 1952. The mission of the newly formed 1352nd Motion Picture Squadron was: "to provide in-service production of classified motion pictures and still photographs for the Department of the Air Force in support of the Atomic Energy program and to provide such additional production of motion picture and still photography as directed by the Commanding General, Air Pictorial Service."
Britannia and Uncle Sam arm in arm. Notice Brit. holds the Trident of The Greco-Roman God of The Sea, Poseidon/Neptune.
TRAGEDY & HOPE
"The book has attracted the attention of conspiracy theorists due to Quigley's assertion that a secret society initially led by Cecil Rhodes, Alfred Milner and others had considerable influence over British and American foreign policy in the first half of the twentieth century. From 1909 to 1913, Milner organized the outer ring of this society as the semi-secret Round Table groups."
NEWS:FOR REALS? (PROPAGANDA CON-TENT WARNING!)
"Created in 1908, this form of film was a staple of the typical North American, British, and Commonwealth countries (especially Canada, Australia, and New Zealand), and throughout European cinema programming schedule from the silent era until the 1960s when television news broadcasting completely supplanted its role. The National Film and Sound Archive in Australia holds the Cinesound Movietone Australian Newsreel Collection, a comprehensive collection of 4,000 newsreel films and documentaries representing news stories covering all major events.
The first official British news cinema that only showed newsreels was the Daily Bioscope that opened in London on 23 May 1909. In 1929 William Fox purchased a former Broadway theater called the Embassy (now a visitor center operated by the Times Square Alliance). He changed the format from a $2 show twice a day to a continuous 25 cent programme establishing the first newsreel theater in the USA. The idea was such a success that Fox and his backers announced they would start a chain of newsreel theaters across the USA. The newsreels were often accompanied by cartoons or short subjects.
In some countries, newsreels generally used music as a background for usually silent on-site film footage. In some countries, the narrator used humorous remarks for light-hearted or non-tragic stories. In the U.S., newsreel series included The March of Time (1935–1951), Pathé News (1910–1956), Paramount News (1927–1957), Fox Movietone News (1928–1963), Hearst Metrotone News (1914–1967), and Universal Newsreel (1929–1967). Pathé News was distributed by RKO Radio Pictures from 1931 to 1947, and then by Warner Brothers from 1947 to 1956.
On August 12, 1949, 120 cinema technicians employed by Associated British Pathé in London went on strike to protest the dismissal of fifteen men on the grounds of redundancy while conciliation under trade union agreements was pending. Their strike lasted through to at least Tuesday the 16th August, the Tuesday being the last day for production on new newsreels shown on the Thursday. Events of the strike resulted in over three hundred cinemas across Britain having to go without newsreels that week.
An example of a newsreel story is in the film Citizen Kane (1941), which was prepared by RKO's actual newsreel staff. Citizen Kane includes a fictional newsreel "News on the March" that summarizes the life of title character Charles Foster Kane while parodying The March of Time."
"A newsreel is a form of short documentary film prevalent in the first half of the twentieth century, regularly released in a public presentation place and containing filmed news stories and items of topical interest. It was a source of news, current affairs, and entertainment for millions of moviegoers until television supplanted its role in the 1950s. Newsreels are now considered significant historical documents, since they are often the only audiovisual record of historical and cultural events of those times.
Newsreels were typically featured as short subjects preceding the main feature film into the 1960s. There were dedicated newsreel theaters in many major cities in the 1930s and 1940s, and some large city cinemas also included a smaller theaterette where newsreels were screened continuously throughout the day."
"The British recognized early in the war that they needed to target neutral audiences, specifically America, to either get them to join the war or further support the war effort in Britain. One of the leading figures in bringing British war films to the U.S. was Charles Urban, the best known film producer in England at the time. He first brought Britain Prepared to the States in early 1916 and The Battle of the Somme in August 1916, both of whose rights were sold to the Patriot Film Corporation. Neither achieved the success the British sought, in part because of Urban’s and Wellington House’s refusal to address Urban’s German ancestry or that the films were produced by the British government with the intention of winning over American audiences. This stance changed in November 1916, when the British created the War Office Cinematograph Committee (WOCC), under which the film’s official intent was to be known. It was absorbed by the Department of Information (DOI) early in 1917."
Pre RADiO DAYS: World War I film propaganda
"Nations were new to cinema and its capability to spread and influence mass sentiment at the start of World War I. The early years of the war were experimental in regard to using films as a propaganda tool, but eventually became a central instrument for what George Mosse has called the "nationalization of the masses" as nations learned to manipulate emotions to mobilize the people for a national cause against the imagined or real enemy."
"The U.S. entered the war in April 1917, which achieved Wellington House's primary objective. The DOI increased its production of war films, but did not know what would play most effectively in the U.S., leading to nearly every British war film being sent to the States thereafter, including The Tanks in Action at the Battle of the Ancre and The Retreat of the Germans at the Battle of Arras, both of which were eventually released as serials. It also turned away from feature length films because they took longer to produce, leaving greater gaps between releases. The DOI found it better to constantly release films and shorts of varying lengths and topics, including newsreels, to increase the market saturation. Newsreels became increasingly popular and a part of the standard war propaganda policy with the DOI and its successor, the Ministry of Information."
"The U.S. developed its own propaganda organization, the Committee on Public Information (CPI), days after the declaration of war. Originally wary of film as a propaganda medium, it created the Division of Films on 25 September 1917 to handle films taken by army Signal Corps cameramen. It did not release commercial films. Urban’s Kineto Company of America edited, processed, and printed the CPI’s films, including Pershing’s Crusaders, America’s Answer, and Under Four Flags. Similar to Britain, American interest in feature-length films waned, in favor of newsreels and shorts. This also proved to be more profitable though even American audiences came to prefer British war films.
HITLER TIME MAN OF THE YEAR 1939
Revelation of the Method: The Twin Banking Towers or Channels. Theaters & Film Sets of World War Two.
One in the Pacific by Hollywood, California. One in the Atlantic by Britain.
"Hollywood and the United Kingdom are connected via the American industry's use of British source material, an exchange of talent, and Hollywood's financial investment in British facilities and productions. The American studios have had their own bases in the UK in the past, such as MGM-British, and Warner Bros.owned shares in British distributor Warner-Pathé, once part of the Associated British Pictures Corporation."
"The United Kingdom has had a significant film industry for over a century. While film production reached an all-time high in 1936, the "golden age" of British cinema is usually thought to have occurred in the 1940s, during which the directors David Lean, Michael Powell, (with Emeric Pressburger) and Carol Reed produced their most highly acclaimed work. Many British actors have achieved international fame and critical success, including Maggie Smith, Michael Caine, Sean Connery and Kate Winslet. Some of the films with the largest ever box office returns have been made in the United Kingdom, including the second and third highest-grossing film series (Harry Potterand James Bond).
The identity of the British industry, and its relationship with Hollywood, has been the subject of debate. The history of film production in Britain has often been affected by attempts to compete with the American industry. The career of the producer Alexander Korda was marked by this objective, the Rank Organisation attempted to do so in the 1940s, and Goldcrest in the 1980s. Numerous British-born directors, including Alfred Hitchcock and Ridley Scott,and performers, such as Charlie Chaplin and Cary Grant, have achieved success primarily through their work in the United States."
Both used as ‘theaters” of war. Both nearby the capitals of the film industry. London and Hollywood. Both were obviously used as sets for the fake footage everyone watched in theater chains as ’news’ back then and what we see on all the screens we can watch now.
The Channel Islands- Used For Location Filming for Fake War Footage of the Pacific “Theater” of War? There’s a good chance this is exactly the case.
“The United States Navy controls San Nicolas Island and San Clemente Island, and has installations elsewhere in the chain. During World War II all of southern California’s Channel Islands were put under military control, including the civilian-populated Santa Catalina where tourism was halted and established residents needed permits to travel to and from the mainland. San Miguel Island was used as a bombing range and Santa Barbara Island as an early warning outpost under the presumed threat of a Japanese attack on California. San Clemente Island was used to train the Navy's first amphibious force to prepare for Pacific combat against the Japanese in World War II. San Nicolas Island has been used since 1957 as a launch pad for research rockets. San Nicolas was considered out of eight possible locations as the site of the Trinity nuclear test. Santa Rosa Island was used in 1952 as a base for the USAF 669th AC&W Squadron and they operated two Distant Early Warning FPS-10 radars from the hilltops there. In 1955 another FPS-3 search radar was added, and in 1956, a GPS-3 search radar was installed. A new MPS-14 long-range height-finder radar was installed in 1958. The base was shut down in March 1963, when the 669th was moved to Vandenberg AFB In Lompoc, California. The islands still house US Navy SEALs training facilities and continues to use the Naval Auxiliary Landing Field located on San Clemente Island.”
The Channel Islands- Used For Location Filming for Fake War Footage of the Atlantic “Theater” of War? There’s a good chance this is exactly the case.
"The Channel Islands (Norman: Îles d'la Manche, French: Îles Anglo-Normandes or Îles de la Manche[note 1]) are an archipelago in the English Channel, off the French coast of Normandy. They include two Crown dependencies: the Bailiwick of Jersey, consisting of Jersey, the largest of the islands; and the Bailiwick of Guernsey, consisting of Guernsey, Alderney, Sark and some smaller islands. They are considered the remnants of the Duchy of Normandy, and although they are not part of the United Kingdom, it is responsible for the defence and international relations of the islands."
The British Government demilitarised the islands in June 1940 and the Lieutenant-Governors were withdrawn on 21 June, leaving the insular administrations to continue government as best they could under impending military occupation.
Before German troops landed, between 30 June and 4 July 1940, evacuation took place (many young men had already left to join the Allied armed forces): 6,600 out of 50,000 left Jersey while 17,000 out of 42,000 left Guernsey. Thousands of children were evacuated with their schools to England and Scotland.
The population of Sark largely remained where they were; but in Alderney, the entire population, save for six persons, left. In Alderney, the occupying Germans built four camps in which over 700 people out of a total worker population of about 6,000 died. Due to the destruction of documents, it is impossible to state how many forced workers died in the other islands. Alderney had the only Nazi concentration camps on British soil.
The Royal Navy blockaded the islands from time to time, particularly following the Invasion of Normandy in June 1944. There was considerable hunger and privation during the five years of German occupation, particularly in the final months when the population was close to starvation. Intense negotiations resulted in some humanitarian aid being sent via the Red Cross, leading to the arrival of Red Cross parcels in the supply ship SS Vega in December 1944.
The German occupation of 1940–45 was harsh: over 2,000 Islanders were deported by the Germans, some Jews were sent to concentration camps; Partisanresistance and retribution, accusations of collaboration, and slave labour also occurred. Many Spaniards, initially refugees from the Spanish Civil War, were brought to the islands to build fortifications. Later, Russians and Central Europeans[who?] continued the work. Many land mines were laid, with 65,718 land mines laid in Jersey alone.
There was no resistance movement in the Channel Islands on the scale of that in mainland France. This has been ascribed to a range of factors including the physical separation of the Islands, the density of troops (up to one German for every two Islanders), the small size of the Islands precluding any hiding places for resistance groups, and the absence of the Gestapo from the occupying forces. Moreover, much of the population of military age had joined the British Army already.
The end of the occupation came after VE-Day on 8 May 1945, Jersey and Guernsey being liberated on 9 May. The German garrison in Alderney were left until 16 May, and it was one of the last of the Nazi German remnants to surrender. The first evacuees returned on the first sailing from Great Britain on 23 June, but the people of Alderney were unable to start returning until December 1945. Many of the evacuees who returned home had difficulty reconnecting with their families after five years of separation."
LIFE Apr 23, 1945
"It was a battered old film tin for sale on eBay for £3.20, and buyer Morace Park bought it simply because he liked the look of it.
Now, however, its contents have become part of movie history.
Inside the tin was a previously unknown Charlie Chaplin silent film made in 1916, a discovery which has astonished film experts across the world."
"Entitled Zepped, it features unseen footage of a German Zeppelin airship over England in the First World War, as well as special effects techniques that would not become commonplace for another decade.
The seven-minute film, which is expected to make £100,000 at auction next month, was propaganda designed to defuse fear of Zeppelin raids which had brought death and destruction throughout 1915.
The 35mm film starts with Chaplin wishing he could return from America and fight alongside British soldiers."
Read more: http://www.dailymail.co.uk/news/article-1392472/Rare-Charlie-Chaplin-film-sale-worth-100-000.html#ixzz460U44cOL
The Original DRONE: The Radio Controlled Airship
"The earliest examples of electronically guided model aircraft were hydrogen-filled model airships of the late 19th century. They were flown as a music hall act around theater auditoriums using a basic form of spark-emitted radio signal" https://en.wikipedia.org/wiki/Radio-controlled_aircraft#History
Miniature Mustaches & Visual Predictive Programing
Chaplin Propaganda WW1
Charlie Chaplin produced and starred in multiple pro-US propaganda films. One film, Zepped, which contains the only known scenes of a Zeppelin bombing raid over London, was designed to be used on a morale mission for the troops in Egypt and to defuse the terror inspired by the frequent Zeppelin raids. In 1918, Chaplin made, at his own expense, The Bond, and produced short clips in which he beat up Kaiser Wilhelm with a hammer bearing the inscription "War Bonds"."
Chaplin Propaganda WW2
"The British Broadcasting Company Ltd was a British commercial company formed on 18 October 1922 by British and American electrical companies doing business in the United Kingdom (and anxious to build sales of their products by ensuring that there were radio broadcasts to which their radio-buying customers could listen) and licensed by the British General Post Office. Its original office was located on the second floor of Magnet House, the GEC buildings in London and consisted of a room and a small antechamber. On 14 December 1922, John Reith was hired to become the Managing Director of the company at that address. The company later moved its offices to the premises of the Marconi Company. The BBC as a commercial broadcasting company did not sell air time but it did carry a number of sponsored programmes paid for by British newspapers. On 31 December 1926, the company was dissolved and its assets were transferred to the non-commercial and Crown Chartered British Broadcasting Corporation."
"The British Broadcasting Company was formed using a blueprint that the US Navy and the General Electric Company had attempted to institute in the USA. Early in World War I, all of the ship-to-shore and transatlantic radio stations controlled by a US subsidiary company of Marconi's Wireless Telegraph Company, Limited in Chelmsford, England, were seized and handed to the US Navy for the duration of the War. After the War, the US Congress forced the US Navy to divest itself of the stations and they turned to the General Electric Company which in 1919 formed a subsidiary called the Radio Corporation of America. With the US Navy on its board, RCA then absorbed the former Marconi stations. In 1926 RCA created the National Broadcasting Company, the first network in the United States. Peaking in the 1930s, there were attempts to bring all radio communications in America back under single monopoly control by using the patent laws. This move failed."
"The raider remained largely unseen while over London"
"The police received a warning of the approaching zeppelin just a few minutes before it appeared over Stoke Newington, and none of the London searchlights or anti-aircraft guns engaged the raider. An official report stated that LZ.38 was so high that she was neither seen or heard, and added: “There is no authentic case of anyone having been able to see it during its passage over London.”
WORLD WAR ONE & RADIO
"Still, this did not solve all of radio’s challenges. During the First World War, radio transmissions were often less reliable than using wired telephones or telegraphs. Radio really found a foothold, however, at sea, even before the United States’ direct involvement in World War I. President Wilson’s 1914 Executive Order allowed the Navy to censor international telegrams sent or received via radio. Though many, including the Marconi Wireless Company of America, vehemently challenged the censorship ban, it stuck, and so began the Navy’s heavy involvement with wartime radio. Navy radio stations, which had higher powered signals than those sent out on the frontlines, were able to relay timely wartime news to vessels at sea. There was some experimentation with troop entertainment via radio transmission, too, with broadcasts aimed at Navy ships at sea and wounded sailors recovering in hospitals". "It is telling that the U.S. Navy press sent its final dispatch of the war, announcing armistice on November 11, 1918, via radio transmission."
Britannia & Neptune (Poseidon) God of The Seas
RCA & THE U.S. NAVY
"The incorporation of the assets of Marconi Wireless Telegraph Company of America (including David Sarnoff), the Pan-American Telegraph Company, and those already controlled by the United States Navy led to a new publicly held company formed by General Electric (which owned a controlling interest) on October 17, 1919. The following cooperation among RCA, General Electric, the United Fruit Company, the Westinghouse Electric Corporation, and American Telephone & Telegraph (AT&T) brought about innovations in high-power radio technology, and also the founding of the National Broadcasting Company (NBC) in the US. The Army and the Navy granted RCA the former American Marconi radio terminals that had been confiscated during the War. Admiral Bullard received a seat on the Board of Directors of RCA for his efforts in establishing RCA. The result was federally-created monopolies in radio for GE and the Westinghouse Corporation and in telephone systems for the American Telephone & Telegraph Company.
The argument by the Department of War and the Department of the Navy that the usable radio frequencies were limited, and hence needed to be appropriated for use before other countries, such as the United Kingdom, France, Germany, and Canada monopolized them, collapsed in the mid-1920s following the discovery of the practicality of the use of the shortwave radio band (3.0 MHz through 30.0 MHz) for very long-range radio communications.
The first chief executive officer of RCA was Owen D. Young; David Sarnoff became its general manager. RCA's incorporation papers required that a majority of its stock be held by American citizens. RCA agreed to market the radio equipment manufactured by GE and Westinghouse, and in follow-on agreements, RCA also acquired the radio patents that had been held by Westinghouse and the United Fruit Company. As the years went on, RCA either took over, or produced for itself, a large number of patents, including that of the superheterodyne receiver invented by Edwin Armstrong.
Over the years, RCA continued to operate international telecommunications services, under its subsidiary RCA Communications, Inc., and later the RCA Global Communications Company."
"At the outbreak of the war, the United States pursued a policy of non-intervention, avoiding conflict while trying to broker a peace. When the German U-boat SM U-20 sank the British liner RMS Lusitania on 7 May 1915 with 128 Americans among the dead, President Woodrow Wilson insisted that "America is too proud to fight" but demanded an end to attacks on passenger ships. Germany complied. Wilson unsuccessfully tried to mediate a settlement. However, he also repeatedly warned that the United States would not tolerate unrestricted submarine warfare, in violation of international law. The former president Theodore Roosevelt denounced German acts as "piracy". Wilson was narrowly reelected in 1916 as his supporters emphasized "he kept us out of war".
WWI: A War Made with Control of Radio
"After World War I began in August 1914, radio traffic across the Atlantic Ocean increased dramatically after the western Allies cut the German transatlantic telegraph cables. Germany, Austria-Hungary, and their allies in Europe (collectively known as the Central Powers) maintained contact with neutral countries in the Americas via long-distance radio communications, as well as telegraph cables owned by neutral countries such as the Netherlands and Denmark.
In 1917 the government of the United States took charge of the patents owned by the major companies involved in radio manufacture in the United States to devote radio technology to the war effort. All production of radio equipment was allocated to the U.S. Army, U.S. Navy, U.S. Marine Corps, and the U.S. Coast Guard. The War Department and the Navy Department sought to maintain a federal monopoly of all uses of radio technology. The wartime takeover of all radio systems ended late in 1918, when the U.S. Congress failed to pass a bill which would have extended this monopoly. The war ended in November of that year.
The ending of the federal government's monopoly in radio communications did not prevent the War and Navy Departments from creating a national radio system for the United States. On 8 April 1919, naval Admiral W. H. G. Bullard and Captain Stanford C. Hooper met with executives of the General Electric Corporation (GE) and asked them to discontinue selling the company's Alexanderson alternators (used in the high-power AM radio transmitters of that era) to the British-owned Marconi Company, and to its subsidiary, the Marconi Wireless Telegraph Company of America.
The proposal presented by the government was that if GE created an American-owned radio company, then the Army and Navy would effect a monopoly of long-distance radio communications via this company. This marked the beginning of a series of negotiations through which GE would buy the American Marconi company and then incorporate what would be called the Radio Corporation of America."
"GOVERNMENT CONTROL AND PREPARATIONS"
"The introduction of vacuum-tube equipment promised to revolutionize radio. However, all amateur and commercial use of radio came to an abrupt halt on April 7, 1917 when, with the entrance of the United States into World War One, most private U.S. radio stations were ordered by the President to either shut down or be taken over by the government, and for the duration of the war it became illegal for private U.S. citizens to even have an operational radio transmitter or receiver -- in fact, it was Treason to Possess Wireless Stations according to one zealous city manager, reported on the front page of the April 23, 1917 San Jose Evening News. (In contrast, seven years later the Springfield Republican would declare: "It is the patriotic duty of all our citizens to have a radio." according to Voice May Alter Destiny of Nation). Radio in the U.S. had become a government monopoly, reserved for the war effort. Amateur radio operators were particularly hard hit by the restrictions. Before the ban, amateurs read the monthly issues of The Electrical Experimenter in order to find out about the latest improvements in equipment design, but now that magazine was featuring articles like How the Government Seals Radio Apparatus, which appeared in July, 1917. The American Radio Relay League's July, 1917 QST magazine brought Arthur C. Young's report of What Happened at Buffalo When Closing Orders Were Received. QST also began carrying monthly reports from former amateurs who were now enlisted in the U.S. Navy, and in September, 1917, in its final issue before suspending publication for the duration of the war, mused about the uncertain future of amateur radio in Another Season Opens, But---, while Guglielmo Marconi, in the September, 1917 Wireless Age, asked that the United States "Send the Wireless Men Abroad Immediately". The war was an opportunity for some to advance beyond standard peacetime restrictions. In this heavily segregated era there were a limited number of jobs open to African-Americans, however in the May, 1918 issue of the same magazine, Negroes for Army Signalmen announced that radio operator training was being established in Richmond, Virginia."
"Worldwide, the company emphasized research, investing in such experiments as hand-coloured film and the synchronisation of film and gramophone recordings. In 1908, Pathé invented the newsreel that was shown in theaters prior to the feature film. The news clips featured the Pathé logo of a crowing rooster at the beginning of each reel. In 1912, it introduced 28 mm non-flammable film and equipment under the brand name Pathescope. Pathé News produced cinema newsreels from 1910, up until the 1970s when production ceased as a result of mass television ownership. In the United States, beginning in 1914, the company's film production studios in Fort Lee, New Jersey produced the extremely successful serialized episodes called The Perils of Pauline. By 1918 Pathé had grown to the point where it was necessary to separate operations into two distinct divisions. With Emile Pathé as chief executive, Pathé Records dealt exclusively with phonographs and recordings while brother Charles managed Pathé-Cinéma which was responsible for film production, distribution, and exhibition. 1922 saw the introduction of the Pathé Baby home film system using a new 9.5 mm film stock which became popular over the next few decades. In 1921, Pathé sold off its United States motion picture production arm, which was renamed "Pathé Exchange" and later merged into RKO Pictures, disappearing as an independent brand in 1931. Pathé sold its British film studios to Eastman Kodak in 1927 while maintaining the theater and distribution arm."
"In the 1960s, Lookout Mountain, AFS was staffed by more than 250 military and civilian personnel. The studio employed many talented civilians as producers, writers, directors, cameramen, editors and animators. Many of these "old timers" had worked at Warner Bros., Metro-Goldwyn-Mayer, Universal and RKO Pictures."
A Lesson in Logic:
“The first major proponents of marketing warfare theories was Philip Kotler and J. B. Quinn. In an early description of business military strategy, Quinn claims that an effective strategy: "first probes and withdraws to determine opponents' strengths, forces opponents to stretch their commitments, then concentrates resources, attacks a clear exposure, overwhelms a selected market segment, builds a bridgehead in that market, and then regroups and expands from that base to dominate a wider field.”
“A beachhead is a temporary line created when a military unit reaches a landing beach by sea and begins to defend the area while other reinforcements help out until a unit large enough to begin advancing has arrived. The term is sometimes used interchangeably (both correctly and incorrectly) with bridgehead and lodgement. Beachheads were very important in operations such as Operation Neptune during World War II, the Korean War (especially at Inchon), and the Vietnam War, among many other examples.”
“The attack on Pearl Harbor, also known as the Battle of Pearl Harbor, the Hawaii Operation or Operation AI by the Japanese Imperial General Headquarters, and Operation Z during planning, was a surprise military strike by the Imperial Japanese Navy against the United States naval base at Pearl Harbor, in the United States Territory of Hawaii, on the morning of December 7, 1941. The attack led to the United States' entry into World War II.
Japan intended the attack as a preventive action to keep the U.S. Pacific Fleet from interfering with military actions the Empire of Japan planned in Southeast Asia against overseas territories of the United Kingdom, the Netherlands, and the United States. Over the next seven hours there were coordinated Japanese attacks on the U.S.-held Philippines, Guam and Wake Island and on the British Empire in Malaya, Singapore, and Hong Kong.
The attack commenced at 7:48 a.m. Hawaiian Time. The base was attacked by 353 Imperial Japanese fighter planes, bombers, and torpedo planes in two waves, launched from six aircraft carriers.All eight U.S. Navy battleships were damaged, with four sunk. All but Arizona were later raised, and six were returned to service and went on to fight in the war. The Japanese also sank or damaged three cruisers, three destroyers, an anti-aircraft training ship,[nb 4] and one minelayer. 188 U.S. aircraft were destroyed; 2,403 Americans were killed and 1,178 others were wounded. Important base installations such as the power station, shipyard, maintenance, and fuel and torpedo storage facilities, as well as the submarine piers and headquarters building (also home of the intelligence section) were not attacked. Japanese losses were light: 29 aircraft and five midget submarines lost, and 64 servicemen killed. One Japanese sailor, Kazuo Sakamaki, was captured.
The attack came as a profound shock to the American people and led directly to the American entry into World War II in both the Pacific and European theaters. The following day, December 8, the United States declared war on Japan. Domestic support for non-interventionism, which had been fading since the Fall of France in 1940, disappeared. Clandestine support of the United Kingdom (e.g., the Neutrality Patrol) was replaced by active alliance. Subsequent operations by the U.S. prompted Germany and Italy to declare war on the U.S. on December 11, which was reciprocated by the U.S. the same day.
From the 1950s, several writers alleged that parties high in the U.S. and British governments knew of the attack in advance and may have let it happen (or even encouraged it) with the aim of bringing the U.S. into war. However, this advance-knowledge conspiracy theory is rejected by mainstream historians”
"In 1938, Roosevelt appointed Kennedy as the United States Ambassador to the Court of St. James's (the United Kingdom) in London. Kennedy hugely enjoyed his leadership position in London high society, which stood in stark contrast to his relative outsider status in Boston. On May 6, 1944, his daughter Kathleen married William "Billy" Cavendish, the elder son of Edward Cavendish, who was the head of one of England's grandest aristocratic families.
Kennedy rejected the warnings of the prominent Member of Parliament Winston Churchill that any compromise with Nazi Germany was impossible. Instead, Kennedy supported Prime Minister Neville Chamberlain's apparent policy of appeasement. Throughout 1938, while the Nazi persecution of the Jews in Germany and Austria intensified, Kennedy attempted to arrange a meeting with Adolf Hitler. Shortly before the Nazi aerial bombing of British citiesbegan in September 1940, Kennedy once again sought a personal meeting with Hitler, again without the approval of the Department of State, "to bring about a better understanding between the United States and Germany". It has been surmised that Kennedy also had personal reasons for wanting to avoid war; "He feared for the lives of his three eldest sons, Joe, Jack, and Bobby, all of whom were or soon would be eligible to serve."
RKO & SARNOFF & KENNEDY
"RKO (Radio-Keith-Orpheum) Pictures (also known as RKO Productions, Radio Pictures, RKO Radio Pictures, RKO Teleradio Pictures and, for a short time, RKO Pathé) is an American film production and distribution company. It was one of the Big Five studios of Hollywood's Golden Age. The business was formed after the Keith-Albee-Orpheum (KAO) vaudeville theatre circuit and Joseph P. Kennedy's Film Booking Offices of America (FBO) studio were brought together under the control of the Radio Corporation of America (RCA) in October 1928.[a] RCA chief David Sarnoff engineered the merger to create a market for the company's sound-on-film technology, RCA Photophone. By the mid-1940s, the studio was under the control of investor Floyd Odlum."
JPK & FDR
"Joseph Patrick "Joe" Kennedy, Sr. (September 6, 1888 – November 18, 1969) was an American businessman, investor, and politician. Kennedy was the husband of Rose Kennedy. Their children included President John F. Kennedy (1917–1963), Attorney General and Senator Robert F. Kennedy (1925–1968), and longtime Senator Ted Kennedy (1932–2009). He was a leading member of the Democratic Party and of the Irish Catholic community. He was the inaugural Chairman of the U.S. Securities and Exchange Commission (SEC), appointed by President Franklin D. Roosevelt, and later directed the Maritime Commission. Kennedy served as the United States Ambassador to the United Kingdom from 1938 until late 1940, including the early part of World War II.
Born to a political family in East Boston, Massachusetts, Kennedy embarked on a career in business and investing, first making a large fortune as a stock market and commodity investor and later rolled over the profits by investing in real estate and a wide range of business industries across the United States. During World War I, he was an assistant general manager of a Boston area Bethlehem Steel shipyard, through which he developed a friendship with Franklin D. Roosevelt, then Assistant Secretary of the Navy.
FDR: THE FiRST RADiO PRESiDENT
"Historians categorized Roosevelt's program as "relief, recovery and reform." Relief was urgently needed by tens of millions of unemployed. Recovery meant boosting the economy back to normal. Reform meant long-term fixes of what was wrong, especially with the financial and banking systems. Through Roosevelt's series of radio talks, known as fireside chats, he presented his proposals directly to the American public. In 1934, FDR paid a visit to retired Justice Oliver Wendell Holmes, who mused about the President: "A second class intellect. But a first class temperament."
"By the end of World War I, the Marconi Wireless Telegraph Company of America was the only company in the United States that was equipped to operate transatlantic radio and telegraph communications. Since Marconi was entirely owned by a foreign company—the British Marconi Company—the U.S. government wanted to establish a domestic company with such capabilities. At the prompting of Franklin D. Roosevelt, then the undersecretary of the navy, General Electric (GE) formed a privately owned corporation to acquire the assets of American Marconi. In 1919 the Radio Corporation of America (RCA) was incorporated, and within a month it had acquired those assets."
1963: 20th Century Trauma Based (MASS) Mind Control
“Television, as conceived by me in 1893, will be another valuable and timely application. At that time I advanced the idea that the formation of a clear mental image of external objects is accompanied by a reflex action on the retina, making it possible to read thoughts and even to project the images conceived on a screen and render them visible to an audience. This would be of inestimable consequence on all human relations but the idea can not be realized until some way is found to lay bare the retina. Continued reflections on this subject led me to evolve apparatus for transmitting instantaneously true vision without any moving devices, and in 1900 I had already solved three of the problems which confronted me, namely: to individualize and isolate a very great number of channels or "nerves"; to convey to the receiving apparatus energy in sufficient amount, and, to make the vision of the moving images independent of distance. Eventually also I hope to overcome the shortcomings of the selenium cell by a different device.”
A Flock of 'Radio Controlled' Rockets
RCA TO NBC FROM RADIO TO TV
“During a period of early broadcast business consolidation, radio manufacturer Radio Corporation of America (RCA) acquired New York City radio station WEAF from American Telephone & Telegraph (AT&T). Westinghouse, a shareholder in RCA, had a competing outlet in Newark, New Jersey pioneer station WJZ (no relation to the radio and television station in Baltimore currently using those call letters), which also served as the flagship for a loosely structured network. This station was transferred from Westinghouse to RCA in 1923, and moved to New York City.”
“RCA spent $1 million to purchase WEAF and Washington sister station WCAP, shut down the latter station, and merged its facilities with surviving station WRC; in late 1926, it subsequently announced the creation of a new division known as the National Broadcasting Company. The division's ownership was split among RCA (a majority partner at 50%), its founding corporate parent General Electric (which owned 30%) and Westinghouse (which owned the remaining 20%). NBC officially started broadcasting on November 15, 1926.”
“In 1930, General Electric was charged with antitrust violations, resulting in the company's decision to divest itself of RCA. The newly separate company signed leases to move its corporate headquarters into the new Rockefeller Center in 1931. John D. Rockefeller, Jr., founder and financier of Rockefeller Center, arranged the deal with GE chairman Owen D. Young and RCA president David Sarnoff. When it moved into the complex in 1933, RCA became the lead tenant at 30 Rockefeller Plaza, known as the "RCA Building" (now the GE Building), which housed NBC's production studios as well as theaters for RCA-owned RKO Pictures.”
PREDICTIVE PROGRAMMING OR IS IT SIMPLY JUST THE ORIGINAL VERSION OF THE FILM- 9/11 BEING THE 'REMAKE'
FAST FORWARD to the FUTURE: THE 21st Century- Trauma Based Mind Control
Please Watch These Clips:
REVELATIONS OF THE MAGIC TV TRICK: NO PLANES USED - 'TADA'!
Please note Drones cannot hover like commercial available plastic radio controlled ‘Go Pro’ toys can. This would seem to make it unsuitable to act as some kind of remote robotic assassin. The rear propeller seems to be too small and should be placed at the front of the craft.
1971: Early and Excellent Miniature Work
"Montage (/mɒnˈtɑːʒ/) is a technique in film editing in which a series of short shots are edited into a sequence to condense space, time, and information. The term has been used in various contexts. It was introduced to cinema primarily by Sergei Eisenstein, and early Soviet directors used it as a synonym for creative editing. In France the word "montage" simply denotes cutting. The term "montage sequence" has been used primarily by British and American studios, which refers to the common technique as outlined in this article.
The montage sequence is usually used to suggest the passage of time, rather than to create symbolic meaning as it does in Soviet montage theory.
From the 1930s to the 1950s, montage sequences often combined numerous short shots with special optical effects (fades, dissolves, split screens, double and triple exposures) dance and music. They were usually assembled by someone other than the director or the editor of the movie."
"Photomontage is the process and the result of making a composite photograph by cutting, gluing, rearranging and overlapping two or more photographs into a new image. Sometimes the resulting composite image is photographed so that a final image may appear as a seamless photographic print. A similar method, although one that does not use film, is realized today through image-editing software. This latter technique is referred to by professionals as "compositing", and in casual usage is often called "photoshopping" ("
"Whitehall is a road in the City of Westminster, in central London, which forms the first part of the A3212 road from Trafalgar Square to Chelsea. It is the main thoroughfare running south from the site of the original Charing Cross at the southern end of Trafalgar Square towards Parliament Square. Recognised as the centre of Her Majesty's Government, the street is lined with government departments and ministries; the name "Whitehall" is used as a metonym for British central governmental administration, and the geographic name for the surrounding area.
The name was taken from the vast Palace of Whitehall that occupied the area before its destruction by fire in 1698. Whitehall was originally a wide road that led to the front of the palace. Trafalgar Square was built at its northern extremity in the early 19th century. The southernmost portion between Parliament Square and Downing Street is named Parliament Street. Combined, Parliament Street and Whitehall cover a distance of about 0.6 mile (1 km).
Whitehall is known for its memorial statues and monuments, including Britain's primary war memorial, the Cenotaph."
Then he held up a great big picture
So every mouse could see
What a three eyed Siamese cat looked like
The face of the enemy
And the crowd let out such a shudder
As they lined up file and rank
Starin' at a twenty foot picture frame
Surroundin' a twenty foot blank
Just empty space
But every single mouse
Swore he saw a face
He said don't be scared
Read more: Bobby Darin - The Proper Gander Lyrics | MetroLyrics
DO NOT TRUST THE NEWS or REPORTERS or TALK SHOW HOSTS
They are all part of The Military Industrial Entertainment Complex™
“Walter Leland Cronkite, Jr. (November 4, 1916 – July 17, 2009) was an American broadcast journalist, best known as anchorman for the CBS Evening News for 19 years (1962–81). During the heyday of CBS News in the 1960s and 1970s, he was often cited as "the most trusted man in America" after being so named in an opinion poll. He reported many events from 1937 to 1981, including bombings in World War II; the Nuremberg trials; combat in the Vietnam War; Watergate; the Iran Hostage Crisis; and the assassinations of President John F. Kennedy, civil rights pioneer Martin Luther King, Jr., and Beatles musician John Lennon. He was also known for his extensive coverage of the U.S. space program, from Project Mercury to the Moon landings to the Space Shuttle. He was the only non-NASA recipient of a Moon-rock award. Cronkite is well known for his departing catchphrase "And that's the way it is," followed by the broadcast's date.”
“He also was a member of the Houston chapter of DeMolay, a Masonic fraternal organization for boys. While attending UT, Cronkite had his first taste of performance, appearing in a play with fellow student Eli Wallach.”
“DeMolay International (also known as the Order of DeMolay), founded in Kansas City, Missouri, in 1919, is an international fraternal organization for young men ages 12 to 21. It was named for Jacques de Molay, the last Grand Master of the Knights Templar. DeMolay was incorporated in the 1990s and is classified by the IRS as a 501(c)(3) tax-exempt organization holding a group exemption letter.”
YOU HAVE BEEN CONDITIONED TO BELIEVE WHAT THE NEWS PERSON SAYS WITHOUT CRITICALLY THINKING ABOUT IT
This is always how it worked from the days of word of mouth through newspapers , radio , TV and now the internet.
YOUTUBE is the NEW PROPAGANDA SCREEN not all amateur videos are as they appear….
The Weapon Maker = Big Media Faker
"Sometimes a media-owning corporation is itself a significant weapons merchant. In 1991, when my colleague Martin A. Lee and I looked into the stake that one major media-invested company had in the latest war, what we found was sobering: NBC’s owner General Electric designed, manufactured or supplied parts or maintenance for nearly every major weapon system used by the U.S. during the Gulf War—including the Patriot and Tomahawk Cruise missiles, the Stealth bomber, the B-52 bomber, the AWACS plane, and the NAVSTAR spy satellite system. “In other words,” we wrote in Unreliable Sources, “when correspondents and paid consultants on NBC television praised the performance of U.S. weapons, they were extolling equipment made by GE, the corporation that pays their salaries.”
During just one year, 1989, General Electric had received close to $2 billion in military contracts related to systems that ended up being utilized for the Gulf War. Fifteen years later, the company still had a big stake in military spending. In 2004, when the Pentagon released its list of top military contractors for the latest fiscal year, General Electric ranked eighth with $2.8 billion in contracts (Defense Daily International, 2/13/04).
Given the extent of shared sensibilities and financial synergies within what amounts to a huge military-industrial-media complex, it shouldn’t be surprising that—whether in the prelude to the Gulf War of 1991 or the Iraq invasion of 2003—the U.S.’s biggest media institutions did little to illuminate how Washington and business interests had combined to strengthen and arm Saddam Hussein during many of his worst crimes."
"When the media watch group FAIR conducted a survey of network news sources during the Gulf War’s first two weeks, the most frequent repeat analyst was ABC’s Anthony Cordesman. Not surprisingly, the former high-ranking official at the Defense Department and National Security Council gave the war-makers high marks for being trustworthy. “I think the Pentagon is giving it to you absolutely straight,” Cordesman said (Newsday, 1/23/91).
The standard media coverage boosted the war. “Usually missing from the news was analysis from a perspective critical of U.S. policy,” FAIR reported (Extra!, Winter/91). “The media’s rule of thumb seemed to be that to support the war was to be objective, while to be anti-war was to carry a bias.” Eased along by that media rule of thumb was the sanitized language of Pentagonspeak as mediaspeak: “Again and again, the mantra of ‘surgical strikes against military targets’ was repeated by journalists, even though Pentagon briefers acknowledged that they were aiming at civilian roads, bridges and public utilities vital to the survival of the civilian population.”
As the Gulf War came to an end, people watching CBS saw Dan Rather close an interview with the 1st Marine Division commander by shaking his hand and exclaiming (2/27/91): “Again, general, congratulations on a job wonderfully done!”
"The album sleeve design was from a poster by David Juniper, who was simply told by the band to come up with an interesting idea. Juniper was a fellow student of Page's at Sutton Art College in Surrey. His design was based on a photograph of the Jagdstaffel 11 Division of the German Air Force during World War I, the famed Flying Circus led by the Red Baron. After the picture was tinted, the faces of the four members of the band were airbrushed on from a 1969 publicity photograph. Other faces added, according to Juniper, were either Miles Davis or Blind Willie Johnson, a friend of Andy Warhol (possibly Mary Woronov) and astronaut Neil Armstrong, although it is actually fellow astronaut Frank Borman. The cover also pictured the outline of a Zeppelin on a brown background (similar to the cover of the band's first album), which gave the album its nickname "Brown Bomber".
A Physical type of Graffiti: The Sneaky Signature of The Artist
"The phrase may have originated through United States servicemen, who would draw the doodle and the text "Kilroy was here" on the walls and other places they were stationed, encamped, or visited. An ad in Life magazine noted that WWII-era servicemen were fond of claiming that "[w]hatever beach-head they stormed, they always found notices chalked up ahead of them, that 'Kilroy was here'".
Brewer's Dictionary of Phrase and Fable notes that it was particularly associated with the Air Transport Command, at least when observed in the United Kingdom. At some point, the graffito (Chad) and slogan (Kilroy was here) must have merged."
5TUDENT5 of Different LANGUAGES become KILROY
"A wish to improve young people's cultural understanding after the Second World War led student organisations in several Nordic countries to establish travel agencies. These, DIS rejser in Denmark, SFS Resebyrå in Sweden, Univers Reiser in Norway and Travela in Finland, cooperated in purchasing and distributing travel products under the name Scandinavian Student Travel Services, SSTS, from the early 50's and eventually merged in 1991 to become KILROY travels. KILROY travels was launched in the Netherlands in 1996 and an Icelandic website opened for business in 2009. KILROY education was established in Sweden in 2004 and the services were available to all regional markets by 2008."
Travellers Aid Society
The Proverbial "Rome" Never Fell it Roams: It Would Seem To All Be About International Travel & Tourism
Romanichals are thought to have arrived in England in the 16th century. They are closely related to the Welsh Kale and to other Romani groups in the United Kingdom and continental Europe. Unlike Romani populations in other parts of the world, they do not have South Asian physical traits and are not a visible racial minority."
"Pavo is a constellation in the southern sky with the Latin name for peacock. It is one of twelve constellations conceived by Petrus Plancius from the observations of Pieter Dirkszoon Keyser and Frederick de Houtman. Pavo first appeared on a 35-cm (14 in) diameter celestial globe published in 1598 in Amsterdam by Plancius and Jodocus Hondius and was depicted in Johann Bayer's star atlas Uranometria of 1603. French explorer and astronomer Nicolas Louis de Lacaille gave its stars Bayer designations in 1756. The constellations Pavo, Grus, Phoenix and Tucana are collectively known as the "Southern Birds"."
THE WORD MONOLITH LIKE THE NAME 'EINSTEIN' MEANS "ONE STONE"
ROCK & ROLL.
ROCK AROUND THE CLOCK, ROCK A' FELLA. ROCK THE KASBAH!
ROCK A BYE BABY: ROCKIN' THE AUDIENCE TO SLEEP:
The Origins of Words: Stones, Masons & Technology
Tekton- "The Ancient Greek noun tektōn (τέκτων) is a common term for an artisan/craftsman, in particular a carpenter or wood-worker or builder. In the time of Christ (2000 BCE-400 AD), the term carpenter (Tektōn) was defined as a stoneworker or mason. The term is frequently contrasted with an iron-worker, or smith (χαλκεύς) and the stone-worker or mason (λιθTektōnολόγος)," https://en.wikipedia.org/wiki/Tektōn
word-forming element meaning "art, craft, skill," later "technical, technology," from Latinized form of Greek tekhno-, combining form of tekhne "art, skill, craft in work; method, system, an art, a system or method of making or doing," from PIE *teks-na- "craft" (of weaving or fabricating), from suffixed form of root *teks- "to weave, fabricate, make" (cognates: Sanskrit taksan "carpenter," Greek tekton"carpenter," Latin texere "to weave;" see texture (n.)).
Please note, our technology is based on mining rock (or stone) and extracting ‘precious’ metals like copper for actual engineering use. Even the silicon which our current technology largely relies upon is a type of ‘rock’. https://en.wikipedia.org/wiki/Copper_extraction_techniques https://en.wikipedia.org/wiki/Silicon
NeXT COMPUTER Below:
"The kabah (Arabic: الكعبة al-Kaʿbah IPA: [alˈkaʕba], "The Cube") also referred as Kaaba Muazzama (Grand Kaaba), is a building at the center of Islam's most sacred mosque, Al-Masjid al-Haram, in Mecca, al-Hejaz, Saudi Arabia. It is the most sacred Muslim site in the world. It is considered the "House of God" and has a similar role to the Tabernacle and Holy of Holies in Judaism. Wherever they are in the world, Muslims are expected to face the Kaaba when performing salat(prayer). From any point in the world, the direction facing the Kaaba is called the qibla."
"Blackrock was the creation of Dr. Peter Silverstone in an attempt to increase ratings for the United Broadcasting television network. Silverstone hypnotized UB President Sam Tanner and later Tanner's nephew, Les Vegas, to fill the role. A third Blackrock (an energy construct) was created by Tanner's command not much later.
However, it is known that eventually Silverstone assumed the mantle of Blackrock himself, using a powerful stone that could metabolize electromagnetic energy into energy to achieve flight, energy blasts and superhuman strength, and fought Superman several times. This rock, while a technological artifact, has the appearance of a polished gem that is black as coal. It was appropriately dubbed the "Blackrock" https://en.wikipedia.org/wiki/List_of_minor_DC_Comics_characters#Blackrock
"A new super-hero hits the streets of Metropolis – Blackrock. Superman tries to save a runaway hang-glider from crashing into buildings, but Blackrock hogs the spotlight, taking credit for the "save" himself. Superman suspects that Blackrock may be placing people in danger just so he can save them.
Back at the GBS station, Clark begins suffering from bizarre mental flashbacks. He continues to see images of his own news broadcasts flashing through his head. He does not have time to investigate it however, as a robbery is taking place at a jewelry store. Blackrock arrives and stops the thieves, knocking them out. Superman berates him for the haphazard way in which he handled the situation.
Superman later learns that Blackrock is actually Sam Tanner, president of UBC, a broadcasting station that competes with GBS. Tanner wanted to market his own super-hero, and so he had inventor Pete Silverstone construct the Blackrock technology. But what Sam does not realize is that he is Blackrock. He does not remember the time he spends as a superhero.
Superman squares off with Blackrock and defeats him. With Pete Silverstone's help, he scrambles the broadcasting technology that Blackrock has been using to power his arsenal. Blackrock turns back into Sam Tanner with no knowledge of his alter-ego."
Foundations are traditionally built of stone or rock.
The founding stone or rock for the enterprise we know as the U.S.A. is
The Rockefeller Foundation.
Seems the empire might be more based on media and perhaps the IRS Federal Reserve International Banking Scheme and less on oil…
Rock and Roll : 30 Rockefeller Plaza
"30 Rockefeller Plaza is an American Art Deco skyscraper that forms the centerpiece of Rockefeller Center in midtown Manhattan, New York City, NY. The exterior signage was changed to reflect the building's new name, Comcast Building, on July 1, 2015, following the transfer of ownership to a corporate owner, Comcast. It was formerly called the RCA Building from 1933 to 1988, and later the GE Building from 1988 to 2015. Nicknames include The Slab and 30 Rock. The building is most famous for housing the NBC television network headquarters. At 850 feet (260 m) high, the 70-story building is the 14th tallest in New York City and the 39th tallest in the United States.
The building underwent a US$170 million floor-by-floor interior renovation in 2014. The renovation included new Comcast signage atop the building; new ground-level signage that reads Comcast Building; and, for the first time, the display of the iconic NBC Peacock logo on the building's exterior."
Located deep inside the jungle is the Black Rock, a sailing ship from the mid-19th century. In "Ab Aeterno", the Black Rock set sail in 1867 and was captained by Magnus Hanso and had Richard Alpert as a prisoner. Jacob, the protector of the island, does not deny when asked by his fraternal twin brother if he brought the ship to the island, as the two watch it approaching. Eventually it is swept inland by a colossal rogue wave, destroying all but one foot of the coastal Statue of Taweret on its way, but a mystery remains on how The Black Rock had landed on almost the other side of the Island from where the statue of Taweret was. In "The Constant", it is explained that the Black Rock set sail from Portsmouth, England, on March 22, 1845 on a trading mission to the Kingdom of Siam, when she was tragically lost at sea. The only known artifact of this journey is the journal of the ship's First Mate, which was discovered among the artifacts of pirates on Île Sainte-Marie, Madagascar seven years later. The contents of this journal have never been made public nor known to anyone outside the family of the seller Tovard Hanso. This journal is later bought at auction by Charles Widmore.
The Revelation of The Trinity of Seven Headed Monsters
"The Beast (Greek: Θηρίον, Thērion) refers to two beasts described in the Book of Revelation. The first beast comes "out of the sea" and is given authority and power by the dragon; the second beast comes "out of the earth". This first beast is initially mentioned in Revelation 11:7 as coming out of the abyss. His appearance is described in detail in Revelation 13:1-10, and some of the mystery behind his appearance is revealed in Revelation 17:7-18. The second beast comes from "out of the earth" and directs all peoples of the earth to worship the first beast. The second beast is described in Revelation 13:11-18 and is also referred to as the false prophet. The two beasts are aligned with the dragon in opposition to God. They persecute the "saints" and those who do "not worship the image of the beast [of the sea]" and influence the kings of the earth to gather for the battle of Armageddon. The two beasts are defeated by Christ and are thrown into the lake of fire mentioned in Revelation 19:18-20."
Ram Dass (born Richard Alpert; April 6, 1931) is an American spiritual teacher and the author of the seminal 1971 book Be Here Now. He is known for his personal and professional associations with Timothy Leary at Harvard University in the early 1960s, for his travels to India and his relationship with the Hindu guru Neem Karoli Baba, and for founding the charitable organizations Seva Foundation and Hanuman Foundation. He continues to teach via his website. https://en.wikipedia.org/wiki/Ram_Dass
I WANT MY MUSIC TV AND RADIO AND RECORDS! WE NEED CONTENT!
ENGLISH THE INTERNATIONAL LANGUAGE OF BUSINESS & COMMERCE
THE IMAGINED MYTHICAL CELESTIAL SPHERE: ANGELS OR ANGLES?
"The general name of mnemonics, or memoria technica, was the name applied to devices for aiding the memory, to enable the mind to reproduce a relatively unfamiliar idea, and especially a series of dissociated ideas, by connecting it, or them, in some artificial whole, the parts of which are mutually suggestive."
member of a Teutonic tribe, Old English, from Latin Angli "the Angles," literally "people of Angul" (Old Norse Öngull), a region in what is now Holstein, said to be so-called for its hook-like shape (see angle (n.)). People from the tribe there founded the kingdoms of Mercia, Northumbia, and East Anglia in 5c. Britain. Their name, rather than that of the Saxons or Jutes, may have become the common one for the whole group of Germanic tribes because their dialect was the first committed to writing.
"the people of England; the speech of England," noun use of Old English adjective Englisc (contrasted to Denisc, Frencisce, etc.), "of or pertaining to the Angles," from Engle (plural) "the Angles," the name of one of the Germanic groups that overran the island 5c., supposedly so-called because Angul, the land they inhabited on the Jutland coast, was shaped like a fish hook (see angle (n.)). The use of the word in Middle English was reinforced by Anglo-French Engleis. Cognates: Dutch Engelsch, German Englisch, Danish Engelsk, French Anglais (Old French Engelsche), Spanish Inglés, Italian Inglese.
Technically "of the Angles," but Englisc also was used from earliest times without distinction for all the Germanic invaders -- Angles, Saxon, Jutes (Bede's gens Anglorum) -- and applied to their group of related languages by Alfred the Great. "The name English for the language is thus older than the name England for the country" [OED]. After 1066, it specifically meant the native population of England (as distinguished from Normans and French occupiers), a distinction which lasted about a generation. But as late as Robert of Gloucester's "Chronicle" (c. 1300) it still could retain a sense of "Anglian" and be distinguished from "Saxon" ("Þe englisse in þe norþ half, þe saxons bi souþe").
MAJOR CITIES ARE FEDERAL CITIES & HAVE ALWAYS BEEN
Federal Courthouses and other such government buildings are often among the first structures built when a town grows into an economic center, or city.
DO NOT BELIEVE ANYTHING COMING OUT OF HOLLYWOOD: THERE ARE LAYERS TO THE TRUTH, IT IS A MAZE DESIGNED TO KEEP YOU FROM SEEING THE OBVIOUS. ACTORS AND OTHER 'STARS' WORK FOR 'THEM'
You might as well believe what you read in a comic book.
A CASE OF THE COINCIDENTAL EARTHQUAKES AT TWO HALLS OF JUSTICES-WHAT ARE THE ODDS?
"In Los Angeles the Hall of Justice was the centerpiece of the Los Angeles County justice system until it was damaged in the Northridge earthquake. The historic 1925 building was featured on television shows including Dragnet, Perry Mason and Get Smart. More significantly, it was the home of Los Angeles County courts, the Los Angeles County Coroner, the Los Angeles County Sheriff's Office, and the Los Angeles County District Attorney, and was for many years the primary Los Angeles County jail.
Notable residents of the Hall of Justice included Charles Manson, Sirhan Sirhan and Shorty Rossi, star of the Animal Planet show Pit Boss. Autopsies performed at the Hall of Justice include those of actress Marilyn Monroe and the assassinated presidential candidate and former United States Attorney General Robert Kennedy. It was used as a filming location for the 1997 Clint Eastwood movie Absolute Power, as the Washington DC police headquarters."
HA!HA!HA! SEE YOU IN THE FUNNY PAGES- THE JOKES ON YOU:
"In San Francisco, the old Hall of Justice was opposite Portsmouth Square on Kearny Street between Washington and Merchant. A hotel, the Hilton San Francisco Financial District, now stands on this site. The old Hall of Justice was burned down during the 1906 earthquake and rebuilt in 1910 by city architect Newton J. Tharp. The fourth floor window design, the famous images of half-circle, fan-shaped windows from the floor, appear in numerous police dramas such as The Lineup in the 1950s to Ironside, the American television program starring Raymond Burr, in the 1960s. The San Francisco Hall of Justice is also frequently mentioned in the works of Dashiell Hammett and James Patterson. It was demolished in 1968. The current Hall of Justice, located on 850/880 Bryant Street, serves as SFPD's operational headquarters, "Southern Station". It is internally referred to as "850 Bryant" and "the hall". The complex serves as the main San Francisco County Jail, as well as base of operations and headquarters for the San Francisco Sheriff's Department, and garage for the majority of vehicles for the SFPD. The famed San Francisco Police motorcycle traffic division is completely based out of it as well. In 1994, the Hall was renamed for Thomas J. Cahill, the legendary Chief of the SFPD from 1958 to 1970."
Dallas, New York City, Los Angeles, San Francisco and Other major cities have always been more Federal than the average person realizes. The founding of these States and Cities involved things like Military Governors, not democratically elected ones.
The fact that the Federal Government played a foundational role in establishing the major cities like Los Angeles, New York and San Francisco, might be what enables the Military to conduct operations and events that seem to involved fake deaths and the like. The Federal Government working closely with the local authorities would be in the position to fake both birth and death certificates and autopsies and other official documents.
14c. fusion of Old English engel (with hard -g-) and Old French angele, both from Latin angelus, from Greek angelos "messenger, envoy, one that announces," possibly related to angaros "mounted courier," both from an unknown Oriental word (Watkins compares Sanskrit ajira- "swift;" Klein suggests Semitic sources). Used in Scriptural translations for Hebrew mal'akh (yehowah) "messenger (of Jehovah)," from base l-'-k "to send." An Old English word for it was aerendgast, literally "errand-spirit."
Of persons, "loving; lovely," by 1590s. The medieval gold coin (a new issue of the noble, first struck 1465 by Edward VI) was so called for the image of archangel Michael slaying the dragon, which was stamped on it. It was the coin given to patients who had been "touched" for the King's Evil. Angel food cake is from 1881; angel dust "phencyclidine" is from 1968.
HOUSE OF THE HOLY OR HOLLY OR HA!-LEE?
mid-13c., holihoc, probably from holi "holy" (see holy) + hokke "mallow," from Old English hocc, a word of unknown origin. Another early name for the plant was caulis Sancti Cuthberti "St. Cuthbert's cole." Native to China and southern Europe, the old story is that it was so called because it was brought from the Holy Land.
Old English halig "holy, consecrated, sacred; godly; ecclesiastical," from Proto-Germanic *hailaga- (cognates: Old Norse heilagr, Danish hellig, Old Frisian helich "holy," Old Saxon helag, Middle Dutch helich, Old High German heilag, German heilig, Gothic hailags "holy"), from PIE *kailo- "whole, uninjured" (see health). Adopted at conversion for Latin sanctus.
HELL: HA! EL - God's Joke.
EL MEANS GOD
evergreen shrub especially used for decoration at Christmas, mid-15c., earlier holin (mid-12c.), shortening of Old English holegn, holen"holly," from Proto-Germanic *hulin- (cognates: Old Saxon, Old High German hulis, Old Norse hulfr, Middle Dutch huls, Dutch, German hulst "holly"), cognate with Middle Irish cuilenn, Welsh celyn, Gaelic cuilionn "holly," probably all from PIE root *kel- (5) "to prick" (cognates: Old Church Slavonic kolja "to prick," Russian kolos "ear of corn"), in reference to its leaves. French houx "holly" is from Frankish *huls or some other Germanic source.
a name of God in the Bible, c. 1600, from Hebrew, plural (of majesty?) of Eloh "God" (cognate with Allah), a word of unknown etymology, perhaps an augmentation of El "God," also of unknown origin. Generally taken as singular, the use of this word instead of Yahveh is taken by biblical scholars as an important clue to authorship in the Old Testament, hence Elohist (1862; Elohistic is from 1841), title of the supposed writer of passages of the Pentateuch where the word is used.
Pentagon or Pentagram: The Five Sided Star The Symbol of Venus, Ishtar, or Lucifer, All Names forThe Morning Star, The Planet Venus
It’s about Following The Stars. For Navigation, it literally means to follow that moving star as it moves from East to West. “Go West Young Man.” It’s also about convincing the mass public to follow “the stars” like the daily Zodiac Horoscope or Celebrities like Film and TV and Music Stars. In this latter case, it’s about public behavior manipulation. Got to keep them distracted and paying their taxes after all.
SHALL WE PLAY WARGAMES?
"In the mid-90s, in a bid to streamline government defense spending, there was a conscious decision by the U.S. military to move away from sub-contracting to outside interests for their development needs. Instead they began a campaign to bring skilled people into the forces to foster their own R&D culture and that had major implications for the relationship between the military and entertainment industries based particularly in their joint interest in games. The military are very familiar with the reality of simulation, particularly as games – they have been part of their training about strategy as long as commanders have coordinated groups of people for large-scale combat. As Michelle Barron notes:
Games of all sorts – video games, board games, and games kids play in the backyard – have historically been about conflict and warfare. Whether you’re playing Chess, which is a simulated battlefield, or a game like Go, an ancient Chinese game that is also a simulated battlefield, or you’re playing a board game like Risk or Axis and Allies, you’re essentially at war and you’re playing out military conflict. The history continues with electronic games. (Barron, 2003)
Further Tim Lenoir and Henry Loward also point out that the:
…notion of the war game as a simulation, as an imitation of combat by other means, preceded the use of computer-based models for encoding rules, data, and procedures. War games have taken many forms ranging from large-scale field exercises to abstract strategy games played with maps, counters or miniatures. (Lenoir and Loward, 2002)
In particular during the twentieth century, air crew training came to depend on the use of simulators that allowed pilots to practice flying without putting their lives, or more importantly, their expensive aircraft in danger. Flight simulators made a quick transition to the digital and many early computers shipped with games that gave the experience of flying. Lenoir and Loward track the development of the initially tenuous links between the computer simulation industry and the US military and the subsequent development of intimate connections between them (2002). These connections share an interest in computing technology that could deliver optimal performance, high reality simulations.
The military have been dabbling directly in the commercial computer game environment for less than a decade. In 1996, Marine Corps Commandant General Charles C. Krulak issued a directive suggesting that Marines use PC-based wargames to improve military thinking about the tactics and techniques of modern warfare (Lister, 2003). This led to the first concerted attempt at harnessing computer gaming technology and led to the military release of an add-on pack (a mod) for Id Software’s Doom II. The mod is now readily available to download from the World Wide Web. You still need a copy of Doom II in order to use the mod, but once you have installed the modification the whole game changes into a real-life simulation where the monsters become terrorists and the locations become realistic (ID Software, 1997). In 2001 the US Military assembled a team of designers (under the name Rival Interactive) to create a real-time strategy combat game called Real War in the same vein as Command and Conquer. The purpose of Real War was to teach soldiers how to think like commanders (Lenoir and Loward, 2002).
Such moves, testing the waters of commercial technologies, planted the seeds for the eventual development of the Department of Defense funded computer game America’s Army by the MOVES Institute, based at the Naval Postgraduate School in Monterey, California. In a pre-design briefing, the creators expressed their goal for the project (which exists in two parts: Operations and Soldiers) as two-fold: ‘We conceived America’s Army: Soldiers as a realistic look at army personal and career opportunities via sophisticated role-playing… Our goal within America’s Army:Operations was to demonstrate life in the infantry’ (Lenoir and Loward, 2002).
In practice, the educational value of the project seems incidental to what America’s Army: Operations actually is: a multiplayer first-person-shooter game. As anyone who has played any multi-user shooter game knows, when you get people in a death-match game it becomes a free-for-all where expert players race through and show off their immensely honed skills with the game interface by slaughtering other players. In a typical training scenario, America’s Army will deploy the “team” of marines near the zone of engagement. The first thing the user learns when playing is that you can’t afford to be flippant about things. One well-aimed shot to the avatar’s vital zones and it’s lights out. As the player’s avatar expires, the corpse slumps to the ground (or is thrown forward like a crash-test-dummy, depending on the physics of the weapon causing digital demise). Then for the remaining time that the skirmish plays out (until one side achieves the objective or a whole team is defeated), the user is detached from the game and becomes an “observer” who can change the camera view but otherwise cannot affect the game." http://one.fibreculturejournal.org/fcj-004-the-military-entertainment-complex-a-new-facet-of-information-warfare
FLASHBACK - RCA: 1939
"RCA demonstrated an all-electronic television system at the 1939 New York World's Fair, and developed the USA's first television test pattern. RCA began regular experimental television broadcasting from the NBC studios to the New York metropolitan area on April 30, 1939 via station W2XBS, Channel 1 (which evolved into WNBC channel 4) from a transmitter atop the Empire State Building. At the same time, RCA began selling their first television set models in various New York stores. With the introduction of the NTSC standard, the Federal Communications Commission authorized the start of commercial television transmission on July 1, 1941. World War II slowed the deployment of television in the US, but RCA again began selling television sets almost immediately after the war ceased. (See also: History of television) RCA was involved in radar and radio development in support of the war effort. RCA ranked 43rd among United States corporations in the value of wartime military production contracts. This greatly assisted RCA in its television research."
"The most famous UNIVAC product was the UNIVAC I mainframe computer of 1951, which became known for predicting the outcome of the U.S. presidential election the following year. This incident is particularly noteworthy because the computer predicted an Eisenhower landslide when traditional pollsters all called it for Adlai Stevenson. The numbers were so skewed that CBS's news boss in New York, Mickelson, decided the computer was in error and refused to allow the prediction to be read. Instead they showed some staged theatrics that suggested the computer was not responsive, and announced it was predicting 8-7 odds for an Eisenhower win (the actual prediction was 100-1). When the predictions proved true and Eisenhower won a landslide within 1% of the initial prediction, Charles Collingwood, the on-air announcer, embarrassingly announced that they had covered up the earlier prediction."
"John F. Kennedy was the first true TV president. Dwight Eisenhower and Harry Truman, his predecessors, had very limited experience and understanding of the then-relatively new medium. But Kennedy seemed to grasp the importance and potential of The Tube, and his brilliant use of it set an example for other presidents who later used television to enhance the White House bully pulpit, such as Ronald Reagan and Bill Clinton.
Kennedy and his advisers realized how much television was permeating American life and JFK, through charm and wit, made himself welcome in America's living rooms."
"Worldwide, the company emphasized research, investing in such experiments as hand-coloured film and the synchronisation of film and gramophone recordings. In 1908, Pathé invented the newsreel that was shown in theaters prior to the feature film. The news clips featured the Pathé logo of a crowing rooster at the beginning of each reel. In 1912, it introduced 28 mm non-flammable film and equipment under the brand name Pathescope. Pathé Newsproduced cinema newsreels from 1910, up until the 1970s when production ceased as a result of mass television ownership. In the United States, beginning in 1914, the company's film production studios in Fort Lee and Jersey City, NJ where their building still stands.The Heights, Jersey_City produced the extremely successful serialized episodes called The Perils of Pauline. By 1918 Pathé had grown to the point where it was necessary to separate operations into two distinct divisions. With Emile Pathé as chief executive, Pathé Records dealt exclusively with phonographs and recordings while brother Charles managed Pathé-Cinéma which was responsible for film production, distribution, and exhibition. 1922 saw the introduction of the Pathé Baby home film system using a new 9.5 mm film stock which became popular over the next few decades. In 1921, Pathé sold off its United States motion picture production arm, which was renamed "Pathé Exchange" and later merged into RKO Pictures, disappearing as an independent brand in 1931. Pathé sold its British film studios to Eastman Kodak in 1927 while maintaining the theater and distribution arm."
"In 1908, Pathé distributed Excursion to the Moon by Segundo de Chomón, an imitation of Georges Méliès's A Trip to the Moon. Pathé and Méliès worked together in 1911. Georges Méliès made a film Baron Munchausen's Dream, his first film to be distributed by Pathé. Pathé's relationship with Méliès soured, and in 1913 Méliès went bankrupt, and his last film was never released by Pathé."
"In May 1902, Méliès made his most famous film, A Trip to the Moon. It was loosely based on Jules Verne's From the Earth to the Moon and H. G. Wells' The First Men in the Moon. In the film, Méliès stars as Professor Barbenfouillis, a character similar to the astronomer he played in The Astronomer's Dream in 1898. Professor Barbenfouillis is the President of the Astronomer's Club and proposes an expedition to the Moon. A space vehicle in the form of a large artillery shell is built in his laboratory, and he uses it to launch six men (including himself) on a voyage to the Moon. The vehicle is shot out of a large cannon into space and hits the Man in the Moon in the eye. The group explores the Moon's surface before going to sleep. As they dream, they are observed by the Moon goddess Phoebe, played by Bleuette Bernon, who causes it to snow. Later, while underground, they are attacked and captured by a group of Moon aliens, played by acrobats from the Folies Bergère. Taken before the alien king, they manage to escape and are chased back to their spaceship. Then, with the aid of a rope attached to the spaceship, the men, along with an alien, fall from the Moon back to Earth, landing in the ocean (where a superimposed fish tank creates the illusion of the deep ocean). Eventually the spaceship is towed ashore and the returning adventurers are celebrated by the townspeople. At 14 minutes, it was Méliès' longest film up to that date and cost 10,000 francs to produce."
"...He was, along with the Lumière brothers, George Méliès and Charles Pathé, one of the pioneers of cinema history.
Impressed by the discovery of cinema, he traveled to Paris in 1897 to study the magnificent invention closely. On his return to Barcelona he founded a studio for the coloring of films. In 1906, he was hired by the French company Pathé, for which he directed ver 100 short films.
Chomón began working in the studio almost immediately, a prelude to what would become one of his biggest obsessions until his death: the color film. His skill and dedication led him to devise, shortly after, a revolutionary hand-colored system known as "pochoir", which later, with slight changes, was patented by Charles Pathé under the name Pathécolor.
Chomón worked tirelessly on new technical discoveries and special effects that he later applied to his fantasy films. His collaborations on myths of silent film as the director of photography in Pastrone's Cabiria (1914) or Gance's Napoleon (1927) earned him the nickname of "the Spanish Méliès'."
Read more: http://twitchfilm.com/2012/06/the-strange-and-very-old-relationship-of-spain-with-the-fantastic-1.html#ixzz42WiDarkT
The Occulted or Hidden Angle: Words that Have More Than One Meaning
HELL OR HALL? ENGLISH OR ANGLES OR ANGELS?
hell (n.) also Hell, Old English hel, helle, "nether world, abode of the dead, infernal regions, place of torment for the wicked after death," from Proto-Germanic *haljo "the underworld" (cognates: Old Frisian helle, Old Saxon hellia, Dutch hel, Old Norse hel, German Hölle, Gothic halja "hell"). Literally "concealed place" (compare Old Norse hellir "cave, cavern"), from PIE *kel- (2) "to cover, conceal" (see cell).
CONCEALED CAVERN: PLATO'S NEO- CAVE is The FiLM SCREEN
"The Allegory of the Cave (also called the analogy of the cave, myth of the cave, metaphor of the cave, parable of the cave, and Plato's Cave) was presented by the Greek philosopher Plato in his work the Republic (514a–520a) to compare "the effect of education (παιδεία) and the lack of it on our nature". It is written as a dialogue between Plato's brother Glaucon and his mentor Socrates, narrated by the latter. The allegory is presented after the analogy of the sun (508b–509c) and the analogy of the divided line (509d–513e). All three are characterized in relation to dialectic at the end of Books VII and VIII (531d–534e).
Plato has Socrates describe a gathering of people who have lived chained to the wall of a cave all of their lives, facing a blank wall. The people watch shadows projected on the wall from things passing in front of a fire behind them, and they begin to give names to these shadows. The shadows are as close as the prisoners get to viewing reality. He then explains how the philosopher is like a prisoner who is freed from the cave and comes to understand that the shadows on the wall do not make up reality at all, for he can perceive the true form of reality rather than the mere shadows seen by the prisoners.
Socrates remarks that this allegory can be taken with what was said before, namely the analogy of the sun and the analogy of the divided line. In particular, he likens our perception of the world around us "to the habitation in prison, the firelight there to the sunlight here, the ascent and the view of the upper world [to] the rising of the soul into the world of the mind" (517b)"
Can You See The Hidden English Yet?
THE ORIGINS OF TOP SECRET SECURITY CLEARANCES
hall (n.) Old English heall "spacious roofed residence, house; temple; law-court," any large place covered by a roof, from Proto-Germanic *hallo "covered place, hall" (cognates: Old Saxon, Old High German halla, German halle, Dutch hal, Old Norse höll "hall;" Old English hell, Gothic halja "hell"), from PIE root *kel- (2) "to hide, cover, conceal" (see cell).
A clandestine cell structure is a method for organizing a group of people like resistance fighters or terrorists in such a way that it can more effectively resist penetration by an opposing organization (e.g., a law enforcement organization). In a cell structure, each small group of people in the cell only know the identities of the people in their cell; as such, if a cell member is apprehended and interrogated, he or she will not know the identities of the higher-ranking individuals in the organization .https://en.wikipedia.org/wiki/Clandestine_cell_system
occult (adj.) 1530s, "secret, not divulged," from Middle French occulte and directly from Latin occultus "hidden, concealed, secret," past participle of occulere "cover over, conceal," from ob "over" (see ob-) + a verb related to celare "to hide," from PIE root *kel- (2) "to cover, conceal" (see cell). Meaning "not apprehended by the mind, beyond the range of understanding" is from 1540s. The association with the supernatural sciences (magic, alchemy, astrology, etc.) dates from 1630s.
late 14c., "revelation, disclosure," from Church Latin apocalypsis "revelation," from Greek apokalyptein "uncover, disclose, reveal," from apo- "from" (see apo-) + kalyptein "to cover, conceal" (see Calypso). The Christian end-of-the-world story is part of the revelation in John of Patmos' book "Apokalypsis" (a title rendered into English as "Apocalypse" c. 1230 and "Revelations" by Wyclif c. 1380).
impossible CARTOON Physics Below:
HOWARD HUGHES: PiONEER iN FiLM, AEROSPACE & WOMEN'S UNDER GARMENTS
"Hughes entered the entertainment industry after dropping out of Rice University and moving to Los Angeles. His first two films, Everybody's Acting(1927) and Two Arabian Knights (1928), were financial successes, the latter winning the first Academy Award for Best Director of a comedy picture.
Hughes spent $3.8 million to make the flying film Hell's Angels (1930). It earned nearly $8 million, about double the production and advertising costs. Hell's Angels received one Academy Award nomination for Best Cinematography.
He produced another hit, Scarface (1932), a production delayed by censors' concern over its violence.
The Outlaw (1943) was completed in 1941 and featured Jane Russell. It also received considerable attention from industry censors, this time owing to Russell's revealing costumes. Hughes designed a special bra for his leading lady, although Russell decided against wearing it.
For a period of time in the 1940s to late 1950s, Hughes Tool Company ventured into the film and media industry where it then owned the RKO companies, including: RKO Pictures; RKO Studios; RKO Theatres, a chain of movie theatres; the RKO Radio Network, a network of radio stations.
In 1948, Hughes gained control of RKO, a struggling major Hollywood studio, by acquiring 25 percent of the outstanding stock from Floyd Odlum's Atlas Corporation. Within weeks of taking control, he dismissed three-quarters of the work force, and production was shut down for six months in 1949 while he undertook the investigation of the politics of all remaining studio employees. Completed pictures would be sent back for re-shooting if he felt that his star (especially female) was not properly presented, or if a film's anti-communist politics were not sufficiently clear. In 1952, an abortive sale to a Chicago-based group with no experience in the industry disrupted studio operations even further.
Hughes sold the RKO theaters in 1953 as settlement of the United States v. Paramount Pictures, Inc. antitrust case. With the sale of the profitable theaters, the shaky status of the film studio became increasingly apparent. A steady stream of lawsuits from RKO's minority shareholders became an increasing nuisance, charging him with financial misconduct and corporate mismanagement, especially because Hughes wanted to focus on his aircraft-manufacturing and TWA holdings during the Korean War years. Eager to be rid of the distraction, Hughes offered to buy out all other stockholders.
POST WW2 TECH: MOTION CONTROL CAMERAS
This Technology Enables The Layering of Moving Film Shots in the same way still Photography can collage different photographs into one.
Early attempts at motion control came about when John Whitney pioneered several motion techniques using old anti-aircraft analog computers (Kerrison Predictor) connected to servos to control the motion of lights and lit targets. The 1968 film 2001: A Space Odyssey pioneered motion control in two respects. The film's model photography was conducted with large mechanical rigs that enabled precise and repeatable camera and model motion. The film's finale was created with mechanically controlled slit-scan photography, which required precise camera motion control during the exposure of single frames. The first large-scale application of motion control was in Star Wars (1977), where a digitally controlled camera known as the Dykstraflex performed complex and repeatable motions around stationary spaceship models. This enabled a greater complexity in the spaceship-battle sequences, as separately filmed elements (spaceships, backgrounds, etc.) could be better coordinated with one another with greatly reduced error.
Howard Hughes Film Special Effects Pioneer
"The “Zep” cruises on its way. London is its objective. A member of the crew is lowered thousands of feet in a gondola suspended by a slender cable to get their bearings. The object is to drop bombs on Trafalgar Square. The observer revolts at bombing a sleeping city. He telephones misinformation to the Zeppelin, and the bombs drop and explode harmlessly in a lake. But the Allied flyers are aroused. They take to the air in their fighting planes to battle the Zeppelin. A terrific aerial battle rages. The “Zep” fights off all planes — but one. This one climbs high above the Zeppelin. The pilot’s machine-gun jams. In heroic desperation, he dives his plane into the vitals of the Zeppelin. The giant dirigible buckles up with a broken back and bursts into flames.
How was it done? Part of this scene is a sample of exceptionally clever double exposure. A drawing explains. First, a miniature airplane is swung from a wire against a flat black back-ground. This is shot with a high-speed camera—about ten times normal. When reproduced at normal speed, this would represent a full-sized plane in the distance taking a power dive of several thousand feet.
The undeveloped negative of the miniature plane is rewound into the camera magazine, and a shot of the Zeppelin, moving slowly, is recorded on the same film. The composite picture is shown in the enlarged frame. The moment the airplane hits the Zeppelin the film is “cut,” and the sequence of the picture is resumed when the Zeppelin is fired.
During part of the heroic dive toward the Zeppelin, seemingly the spectator is riding in the plane. This illusion was created in the hangar. The Zeppelin was suspended about half way between the roof and the floor, and the camera-man was lowered toward it. A miniature, pictorial set on the floor gave a suitable back-ground; the high-speed camera did the rest.
Now comes the big, breath-taking scene— the fall of the flaming Zeppelin. To make sure of suitable film, fourteen cameras shot the scene.
The covering of the gas bag is sprayed with kerosene. Everything is ready. Comes the director’s cry: “Camera!” A special prop in the “in’ards” of the “Zep” is jerked out. The dirigible sags in the middle, and then bursts into flames. All the cameras are in action. The man at the electric winch slowly lowers the flaming hulk. It passes into and out of the range of the cameras. When the flaming wreck is about eight feet from the floor, it is dropped with a crash. To make the falling act very vivid, a pair of cameras are in a pit in the floor covered with plate glass, and shoot the vertical fall. And the fall of a burning Zeppelin from the skies is a celluloid record. In the cutting room, the best of the shots are compiled into the finished film which the spectator sees on the screen.
Be it said that all those in the hangar during the “fire” were not sorry when it was all over. The camera-men up on the cat-walk had no occasion to take a Turkish bath for six months.
“Hell’s Angels” is an outstanding example of the far-reaching possibilities of the model technician’s art. Because a real Zeppelin was not used, and the crew not incinerated in the fire, should not detract the spectator’s interest in the picture. In the wild and wooly “westerners,” one knows that the Indians are not really shot off their mustangs. But if they tumble off and “bite the dust” in realistic fashion, the spectators howl their delight.
For realism, “Hell’s Angels” stands out alone in its class."
"The Hindenburg disaster occurred on May 6, 1937, as the German passenger airship LZ 129 Hindenburg caught fire and was destroyed during its attempt to dock with its mooring mast at Naval Air Station Lakehurst in Manchester Township, New Jersey, United States. Of the 97 people on board (36 passengers and 61 crewmen), there were 35 fatalities (13 passengers and 22 crewmen). One worker on the ground was also killed, making a total of 36 fatalities.
The disaster was the subject of spectacular newsreel coverage, photographs, and Herbert Morrison's recorded radio eyewitness reports from the landing field, which were broadcast the next day. A variety of hypotheses have been put forward for both the cause of ignition and the initial fuel for the ensuing fire. The incident shattered public confidence in the giant, passenger-carrying rigid airship and marked the abrupt end of the airship era."
"The dogfight images that are too good to be true Lord Ashcroft tells how dramatic pictures of First World War aerial battles were faked by a con man"
"The photographs are stunning in their clarity, even as the biplanes carry out daring acrobatics – which is perhaps not surprising, given that all of them are carefully manufactured fakes.
The images are the work of an ingenious fraudster, who created them in his photographic studio using models of aircraft suspended by thin “invisible” string and wires. Furthermore, it seems negatives of different model aircraft were superimposed and retouched to form a composite scene."
1930: Howard Hughes Presents The Hell's Angels
He had gained near-total control of RKO by the end of 1954, at a cost of nearly $24 million, becoming the closest thing to a sole owner of a Hollywood studio seen in three decades. Six months later, Hughes sold the studio to the General Tire and Rubber Company for $25 million. Hughes retained the rights to pictures that he had personally produced, including those made at RKO. He also retained Jane Russell's contract. For Howard Hughes, this was the virtual end of his 25-year involvement in motion pictures; his reputation as a financial wizard emerged unscathed. He reportedly walked away from RKO having made $6.5 million in personal profit.
General Tire was interested mainly in exploiting the value of the RKO library for television programming, though it made some attempts to continue producing films. After a year and a half of mixed success, General Tire shut down film production at RKO for good at the end of January 1957. The studio lots in Hollywood and Culver City were sold to Desilu Productions later that year for $6.15 million."
The Stars Make The Trek Not You
Of The Light- I See You: DESiLU
"Desilu Productions was formed in 1950 using the combined names of "Desi Arnaz" and "Lucille Ball". Desilu Productions was initially created to produce Lucy and Desi's vaudeville act to sell the television series to Columbia Broadcasting System (CBS) executives."
"Ball approved high quality, original production concepts (such as The Untouchables or Star Trek) for development into broadcast series."
"Ball served as President and Chief Executive Officer of Desilu, while at the same time starring in her own weekly series. In February 1967, Ball agreed to sell her television company to Charles Bluhdorn of Gulf+Western which had just acquired Paramount Pictures. The company was renamed Paramount Television and the former RKO main lot on Gower Street was absorbed into the adjacent Paramount lot. The old RKO globe logo is still in place. The company is now called CBS Television Studios. Perfect Film purchased Desilu Studios other lot in Culver City during 1968.
"The series was produced from September 1966–December 1967 by Desilu Productions, and by Paramount Television from January 1968–June 1969. Star Trek aired on NBC from September 8, 1966 to June 3, 1969 and from September 6 on Canada's CTV network. Star Trek's Nielsen ratings while on NBC were low, and the network canceled it after three seasons and 79 episodes. Several years later, the series became a bona fide hit in broadcast syndication, remaining so throughout the 1970s, achieving cult classic status and a developing influence on popular culture. Star Trek eventually spawned a franchise, consisting of five additional television series, twelve feature films, numerous books, games, toys, and is now widely considered one of the most popular and influential television series of all time"
After selling Desilu, Ball established her own, new production company, Lucille Ball Productions (LBP), in 1968. The company went to work on her new series Here's Lucy that year. The program ran until 1974, and enjoyed several years of ratings success. Ball returned to network television in 1986 with the short-lived Life with Lucy. It lasted eight episodes before, a first for Ball, it was cancelled due to poor ratings. LBP continues to exist today, and its primary purpose is residual sales of license rights for Here's Lucy.
"War games are simulations combining game, experiment and performance. The U.S. Department of Defense (DoD) has been the primary proponent of war game design since the 1950s. Yet, commercial game designers produced many of the ideas shaping the design of military simulations, both before and after the advent of computer-based games. By the 1980s, the seeds of a deeper collaboration among military, commercial designers, the entertainment industry, and academic researchers in the development of high-end computer simulations for military training had been planted. They built “distributed interactive simulations” (DIS) such as SIMNET that created virtual theaters of war by linking participants interacting with distributed software or hardware simulators in real time. The simulators themselves presented synthetic environments—virtual worlds—by utilizing advances in computer graphics and virtual reality research. With the rapid development of DIS technology during the 1990s, content and compelling story development became increasingly important. The necessity of realistic scenarios and backstory in military simulations led designers to build databases of historical, geographic and physical data, reconsider the role of synthetic agents in their simulations and consult with game design and entertainment talents for the latest word on narrative and performance. Even when this has not been the intention of their designers and sponsors, military simulations have been deeply embedded in commercial forms of entertainment, for example, by providing content and technology deployed in computer and video games."
"During a surprise drill of a nuclear attack, many United States Air Force Strategic Missile Wing missileers prove unwilling to turn a required key to launch a missile strike. Such refusals convince John McKittrick (Dabney Coleman) and other systems engineers at NORAD that missile launch control centers must be automated, without human intervention. Control is given to a NORAD supercomputer, WOPR (War Operation Plan Response), programmed to continuously run military simulations and learn over time."
"Cinderella Castle was completed in July 1971, after about 18 months of construction. The castle is 183 feet (56 m) tall, as measured from water-level. Many sources quote the height as six feet taller, but that is measured from the concrete bottom of the moat, which itself is 6 feet (1.8 m) deep at the bridge. Cinderella Castle is more than 100 feet (30 m) taller than Sleeping Beauty Castle at Disneyland in Anaheim, California. A set-building trick known as forced perspective makes the castle appear even larger than it actually is. At higher elevations, its proportions to full scale are reduced for elements such as stones, windows, and doors."
NEXT CHAPTER, THE 21ST CENTURY AND THE iNTERNET
"The entertainment paradigm is used not only to wage war against the Iraqis but also to manage the home front. The words of one senior White House official sums up the approach: ‘Boom, boom, we’re going in hard and fast,’ the official said. ‘By this time next week, sit by your TV and get ready to watch the fireworks’ (Coorey and Schlink, 2003)."
"The flexibility of the military-entertainment complex is evident in the interchange of personnel between both wings, from military to entertainment (Coffee, 1995 : 30; Pollack, 1997: 1) or a virtual-reality expert from Disney’s Imagineering group joining the National Security Agency (Peter Huck, 2003). In the carefully plotted production of the second Gulf War, it seems that the military has turned to the entertainment industry to respond to Baudrilliard’s critique of the first Gulf War:
…the war, along with the fake and presumptive warriors, generals, experts and television presenters… watches itself in a mirror: am I pretty enough, am I operational enough, am I spectacular enough, am I sophisticated enough to make an entry onto the historical stage? … this uncertainty invades our screens like a real oil slick, in the image of that blind sea bird stranded on a beach in the Gulf, which will remain the symbol-image of what we all are in front of our screens, in front of that sticky and unintelligible event. (Baudrilliard, 1995: 31)
This is Your Brain on Propaganda: A Physically Impossible Feat- The Cartoon Physics and Model Compositing work of the U.S. Military - Your TAX Dollars At Work. Whether the method is CGI or traditional Film, the result is the same, the eye is fooled.
A man sized craft cannot move in the manner we see below. There is the medium of air around the jet. It would have to be some kind of model. Besides, there s jump cut before it flies off, indicating the possibility of an edit.
Below an 'RC' version of the same- please notice how the background mountains and sky (and what looks to be a planet) unnaturally seem to zoom as one image, (with the RC model Jet) without any parallax, indicating the possibility of some kind of video image composite work. Please note that the Hollywood Special Effects technicians do not move the larger sized models, but move the camera rig instead. see the Zoptic Technique The camera is moved instead as the larger models cannot physically maneuver in the desired manner as the medium of air renders such motion impossible. Compare the agility of the bumble bee to the eagle.
REAL OR FAKE? HOAX OR HARRIER?
You Can Download The Tools Today & Create Your Own War
"To create their great cult movies before the computer age, the Disney studios had used the technique of rotoscoping, also known as live-action reference, which was to film scenes with real actors and sets. These images were then used as references for the Disney animators to help them visualize the scenes, postures and movements to draw. Here is a series of unusual images and videos from this technique, overlaying the images shot with drawings created by animators!"
Below is an example of a Disney Multi-Plane Photographic Cartoon Effect: This is Referred To As "2 1/2 D" Instead of "3D"
How Real Are The Wars? For Example, Vietnam: Please Listen to This Stanley Kubrick interview below.:
"Following the 1947 invention of the cathode-ray tube amusement device, the earliest known interactive electronic game as well as the first to use an electronic display, the first true video games were created in the early 1950s. Initially created as technology demonstrations, such as the Bertie the Brain and Nimrod computers in 1950 and 1951, video games also became the purview of academic research. A series of games, generally simulating real-world board games, were created at various research institutions to explore programming, human–computer interaction, and computer algorithms. These include OXO and Christopher Strachey's draughts program in 1952, the first software-based games to incorporate a CRT display, and several chess and checkers programs. Possibly the first video game created simply for entertainment was 1958's Tennis for Two, featuring moving graphics on an oscilloscope. As computing technology improved over time, computers became smaller and faster, and the ability to work on them was opened up to university employees and undergraduate students by the end of the 1950s. These new programmers began to create games for non-academic purposes, leading up to the 1962 release of Spacewar! as one of the earliest known digital computer games to be available outside a single research institute."
ADOBE AFTER EFFECTS IN ACTION: VIDEO CO PILOT AFTER EFFECTS TUTORIALS
PUBLICLY AVAILABLE 2D & 3D SOFTWARE:
“Adobe After Effects is a digital visual effects, motion graphics, and compositing application developed by Adobe Systems and used in the post-production process of filmmaking and television production. Among other things, After Effects can be used for keying, tracking, rotoscoping, compositing and animation. It also functions as a very basic non-linear editor, audio editor and media transcoder.
After Effects was originally created by the Company of Science and Art in Providence, Rhode Island, where the first two versions of the software, 1.0 (January 1993) & 1.1, were released by the company. CoSA along with After Effects was then acquired by Aldus corporation in July 1993, which was in turn acquired by Adobe in 1994, and with it PageMaker. Adobe's first new release of After Effects was version 3.0.
The following is the list of versions of After Effects over the years, including the first two versions released by CoSA.”
BLENDER: Free Easily Available Downloadable Professional Level 3D software Suite
"The Dutch animation studio Neo Geo developed Blender as an in-house application in January 1995, with the primary author being software developer Ton Roosendaal. The name Blender was inspired by a song by Yello, from the album Baby. When Neo Geo was acquired by another company, Ton Roosendaal and Frank van Beek founded Not a Number Technologies (NaN) in June 1998 to further develop Blender, initially distributing it as shareware until NaN went bankrupt in 2002."
SEE http://www.blendernation.com BLENDER IS A FREE OPEN SOURCE 3D PROGRAM THAT HAS BEEN AVAILABLE FOR YEARS- HAVING STARTED OUT AS A COMMERCIAL PRODUCT SOME 20 YEARS AGO OR SO.
BROADCAST SPORTS EVENTS AND REAL-TIME CGI GRAPHICS
"1st & Ten is a computer system that generates and displays one version of the yellow first down line that a TV viewer sees during a live broadcast of a college or professional American football or Canadian football game A competing system that performs the same task using different technology is called L-VIS for Live Video Insertion System. The line, which is not physically present on the field and is seen only by the television audience, spans the width of the football field and indicates the location of the first down marker. The purpose of the line is to make it easier for television viewers to follow play on the field. Some television football broadcasts change the color of the line from yellow to red on 4th down, or show a second computer-generated line (usually blue in color) that marks the line of scrimmage. Other lines are also projected to show other types of field position, including markings for the red zone and the optimum maximum distance for a placekicker's statistical field goal range."
“Navicam is the brand name of our unique, patented camera technology. Navicam solves the sports broadcast and sports sponsorship industry’s longstanding commercial challenge: attracting and retaining the attention of the public for sports, while at the same time assisting advertisers and sponsors with the equally tricky challenge of connecting that public with their brands in return for their investment.
The company achieves this by creating new brand exposure, new content and a new, more immersive entertainment experience for sports fans, no matter which device they choose to view and interact with their sport.
Using Navicam we are able to film extreme close-up footage of high-speed objects, such as Formula 1 racing cars. It is a "win-win" situation for all: fans get closer to the action and a better sense of "being there"; sponsors’ messages are easier to see, hence brands can be better connected with their target audience and will pay for the privilege, and broadcasters are able to use this new, quality close-up footage in their broadcasts to produce better sports programmes.”
High Speed Computer Camera Tracking
"Thanks to our patented camera control system “Navicam”, we can help clients create effective connections between their brands and consumers by filming high quality, extremely close-up action during part of a televised event. This footage allows a brand’s graphics to become clearly visible, no matter how fast the target on which the graphics are displayed is travelling.
In addition to our unique media advertising service, our “Navicam” system can provide TV producers and creative agencies with an exciting new camera feed for use in close-up action sequences in sports, advertising, documentaries or film."
Radio Controlled Scale Models: Passenger Jets & More...
Were (radio controlled) passenger jets used on 9/11? The footage might be fake but a live action component of the hoax could be radio controlled planes that make a lot of noise but do little else. This is technology that has existed for over a hundred years.
"I have seen big RC planes in the past, but this is really getting out of hand. I watch these videos of giant scale RC planes—the one above is 85 percent of the original size!—and I have to wonder what's the point. OK, I know the point: It's awesome, but you may as well build the entire thing."
"As soon as it is completed, it will be possible for a business man in New York to dictate instructions, and have them instantly appear in type at his office in London or elsewhere. He will be able to call up, from his desk, and talk to any telephone subscriber on the globe, without any change whatever in the existing equipment. An inexpensive instrument, not bigger than a watch, will enable its bearer to hear anywhere, on sea or land, music or song, the speech of a political leader, the address of an eminent man of science, or the sermon of an eloquent clergyman, delivered in some other place, however distant. In the same manner any picture, character, drawing, or print can be transferred from one to another place. Millions of such instruments can be operated from but one plant of this kind. More important than all of this, however, will be the transmission of power, without wires, which will be shown on a scale large enough to carry conviction." Nikola Tesla
On the Wardenclyffe Tower, in "The Future of the Wireless Art" in Wireless Telegraphy and Telephony (1908)"
"Bread and circuses" (or bread and games; from Latin: panem et circenses) is metonymic for a superficial means of appeasement. In the case of politics, the phrase is used to describe the generation of public approval, not through exemplary or excellent public service or public policy, but through diversion; distraction; or the mere satisfaction of the immediate, shallow requirements of a populace, as an offered "palliative." Its originator, Juvenal, used the phrase to decry the selfishness of common people and their neglect of wider concerns.The phrase also implies the erosion or ignorance of civic duty amongst the concerns of the commoner.”
"Virtual Advertising is the use of digital technology to insert virtual advertising images into a live or pre-recorded television show, often in Sports events. This technique is often used to allow broadcasters to replace real advertising panels (existing on the playfield) with virtual images on the screen when broadcasting the same event in other regions which are not concerned with the local advertising; a Spanish football game will be broadcast in Mexico with Mexican advertising images. The viewer has the impression that the advertising image he/she sees on screen is the one in the reality."
U.S. MILITARY LOVES TO SHOW OFF BY FLYING OVER THE SPORTS EVENTS
THE ART OF ILLUSION USED TO MANAGE PERCEPTION AND CHANGE BEHAVIOR
U.F.O.'s & I.F.O.'s
Could They Be Just Radio Controlled Models? Smaller objects can appear larger. Smaller objects can maneuver easier in the air. Compare a bumble bee to an eagle in terms of agility. The bee can maneuver in ways the eagle cannot. Human sized jets would not be able to perform the maneuvers we see on video.
If You Ever Have The Pleasure Of Witnessing Fighter Jets Fly Overhead, You Will Experience A Lot Of Noise And 'Thunder' And You Will See That These High Speed Aircraft Keep A Safe Distance From Each Other.
A Limited 'Hang Out"
"In a surprise announcement today, the US Navy announced that the Blue Angels will transition from their current F-18 Hornets to unmanned F-47 aircraft for their 2018 airshow season. The team will still fly a full ‘delta’ aerobatic routine, including tight formations, using six of the cutting edge drones. The only difference is that the pilots will never leave the ground and will instead monitor the pre-programmed flight routines from special trailers set up at each show site. Since the aircraft are unmanned, the team will no longer offer media rides but will allow selected media representatives to ‘sit in’ on practice demonstrations using a virtual reality headset that will be known as Blue Angel 7, the same callsign as the team’s current two-seat media jet. The pilots will also be expected to post to social media during the routine to increase their interaction with fans."
“This is a tremendous opportunity for the Navy to showcase our advanced technology and cutting edge aircraft,” said Jack Herndon, the Navy’s Chief of Public Outreach. “Honestly, the Hornets are getting to be quite old and worn out. We saw the need to replace them and decided to take advantage of the timing by leaping straight ahead to our very newest fighter aircraft, the F-47. The Blue Angels’ primary mission is to inspire America’s young people to join the Navy, and with this transition we are able to demonstrate that even young men and women who only want to sit at a computer all day can have a successful Navy flying career. Those are exactly the people we are looking to recruit in the future.”"
Is this Blue Angels story just an April Fool's prank or this story more real than you might think. Does the Truth hide as an April Fool's Prank? Could this news story be a multi layered prank and the real prank be that the story is already true? Layers of lies protect the truth. The military are experts in the art of deception after all. What secrets are really kept 'classified' and what so called 'classified' secrets are really just lies?
“Navy Secretary Ray Mabus really likes drones. He now has a whole deputy assistant secretariat for them. In contrast to the U.S. Air Force, his people aren’t yet burned out from operating them around the clock for over a decade. This April Fool’s Day even brought the annual joke about another aerial demonstration team—this time the Blue Angels—going unmanned. Except that if Cirque de Soleil can do it already, maybe the idea just isn’t that far-fetched. For those X-47B UCAS-Ds—Unmanned Combat Air System Demonstrators—bought from Northrop Grumman have been taking off from carriers, landing on carriers, and refueling from 707s. That bodes well for the forthcoming UCLASS—Unmanned Carrier-Launched Airborne Surveillance and Strike—competition. But for all that the secretary likes those drones from Northrop, further tests and evaluations of the airplane will proceed judiciously, so as not to give “the people that made UCAS a huge advantage over what the next iteration is.” And that may be a mistake.
For background, the UCLASS competition is intended to provide each carrier with a squadron of long-endurance drones for scouting out and bombing things hundreds of miles away. Four companies will bid: Northrop Grumman with a further development of that X-47B ‘Iron Raven’ (excellent), Lockheed Martin with its Sea Ghost, Boeing with its Phantom Ray, and General Atomics with its Sea Avenger. As I wrote last August on Real Clear Defense, “that structure is a long way from the monopolization of the [combat aircraft] business that Lockheed Martin was presumed to have inherited by winning the Joint Strike Fighter contract some thirteen years ago.” Now, however, the SecNav is concerned that Northrop may have an advantage from the past four years of flight testing with the Navy.
Of course it does. Lockheed has an advantage in stealth aircraft design and manufacturing from its past 18 years of building F-22s and F-35s. Boeing has an advantage in naval aircraft as the producer of most of the world’s currently serving carrier-based fighters. General Atomics Aeronautical has an advantage in drones from having focused almost solely for the past 20 years on designing and building Predators and Reapers. Every incumbent brings inalienable advantages to the next competition. For as Mark Lorell and Hugh Levaux wrote in their seminal study The Cutting Edge: A Half Century of U.S. Fighter Aircraft R&D (RAND, 1998), “experience matters, because of the tendency to specialize and thus to develop system-specific expertise.”
But they also wrote that “the most dramatic innovations and breakthroughs came from secondary or marginal players trying to compete with the industry leaders.” Depending on one’s perspective, that might be a description today of General Atomics, with its focus on relatively low-performance aircraft, or Boeing, with its relative limited track record in operational drones. Secondary and marginal really don’t describe Lockheed Martin in any way, but that just confirms that the company is an under-dog to no one in combat aircraft competitions. The beauty of the UCLASS program is that it will pit four rather dissimilar organizations against one another for a most prestigious contract.”
"There were also remotely controlled cutters and experimental remotely controlled planes in the Red Army. In the 1930s, the United Kingdom developed the radio-controlled Queen Bee, a remotely controlled unmanned Tiger Moth aircraft for a fleet's gunnery firing practice. The Queen Bee was superseded by the similarly named Queen Wasp, a purpose-built, target aircraft of higher performance."
File:Winston Churchill and the Secretary of State for War waiting to see the launch of a de Havilland Queen Bee radio-controlled target drone, 6 June 1941.
OBJECTS IN THE SKY CAN BE ANY SIZE AND DISTANCE AWAY FROM THE VIEWER'S EYE AND CAN BE MOVING AT ANY SPEED- WITH NOTHING ELSE TO COMPARE THE OBJECT TO, ONE CANNOT BE SURE OF ITS SIZE, SPEED OR DISTANCE.
"Historically, the best-known alternative to the "apparent distance" theory has been a "relative size" theory. This states that the perceived size of an object depends not only on its retinal size, but also on the size of objects in its immediate visual environment. In the case of the Moon illusion, objects in the vicinity of the horizon moon (that is, objects on or near the horizon) exhibit a fine detail that makes the Moon appear larger, while the zenith moon is surrounded by large expanses of empty sky that make it appear smaller.
The effect is illustrated by the classic Ebbinghaus illusion, where a circle appears larger when surrounded by smaller circles, than it does when surrounded by larger circles.
Extensive experiments in 1962 by Kaufman and Rock showed that a crucial causative factor in the illusion is a change in the pattern of cues to distance, comparable to the Ponzo illusion. The horizon moon is perceived to be at the end of a stretch of terrain receding into the distance, accompanied by distant trees, buildings and so forth, all of which indicate that it must be a long way away, while these cues are absent from the zenith moon. Experiments by many other researchers have found the same result; namely, when pictorial cues to a great distance are subtracted from the vista of the large-looking horizon moon it looks smaller. When pictorial cues to an increased distance are added into the vista of the zenith moon, it appears larger."
SPACE X, No! it is FAKE - X : impossible Cartoon Physics & Poor Craftsmanship
Please take notice how the rocket is magically able to maneuver as if it was a toy model dangled from a string. Also notice how the rocket exhaust does not interact with the surrounding medium (the air) at all as it lands. It looks as if it is simply pasted in. The exhaust stays 'pointy'. Please also notice that the platform lacks a reflection in the water. The smoke cloud also lacks a reflection in the sea. This is a poor Adobe After Effects-like job. https://en.wikipedia.org/wiki/Adobe_After_Effects
Please also notice that neither the platform nor the camera have any shake or motion. Where is this magic camera supposed to be and how can a floating platform not actually appear to float but appears to stay still while the sea moves gently around it? The platform should be bobbing in the sea. The camera cannot just magically not move. It has to either be hovering or otherwise moving around the landing rocket.
Here’s one way to tell if a piece of video or film is fake, if the camera can magically move and zoom and stays with a flying object, and the perspective of that object never changes, then more than likely you are looking at a bit of photographic darkroom fakery which can digital and/or analog.
Culture Content Creation & Behavior Control, The work of The U.S. Miliatry
In The Navy
"After the enormous commercial success of their 1978 hit "Y.M.C.A." which unexpectedly became the unofficial hymn and powerful advertising tool for the YMCA, the group took on another national institution, the United States Navy. The Navy contacted group manager Henri Belolo to use the song in a recruiting advertising campaign for television and radio. Belolo gave the rights for free on the condition that the Navy help them shoot the music video. Less than a month later, Village People arrived at Naval Base San Diego where the Navy provided them with the frigate USS Reasoner, several aircraft, and the crew of the ship (with the stipulation that they couldn't dance).The Navy later canceled the campaign after protests erupted over using taxpayer money for a music video of a controversial group" https://en.wikipedia.org/wiki/In_the_Navy
It Takes a Village of People...
"Village People is an American disco group well known for their on-stage costumes depicting American masculine cultural stereotypes as well as their catchy tunes and suggestive lyrics. Originally created by Jacques Morali and Henri Belolo to target disco's gay audience by featuring popular gay fantasy personae, the band quickly became popular and moved into the mainstream. The group scored a number of disco and dance hits, including "Macho Man", "Go West", the classic club medley of "San Francisco (You've Got Me) / In Hollywood", "In the Navy", and their greatest hit, "Y.M.C.A.". They have sold more than 100 million records worldwide."
OLD BROADCAST (lower resolution means less computer power needed to create 9/11 graphics- a standard PC with After Effects could achieve this back in 2001).
(OLD 720 x 480) iNTSC STANDARDS VS DIGITAL HIGH DEFINITION VIDEO (1920 x 1080)
9/11 happened during the days of NTSC video and VHS tape- the quality of the YOUTUBE videos reflect the lower resolution of VHS and the digitizing processing. Video artifacts are usually the result of digital compression or analog video 'hits' (or a combination of both).
The horizontal resolution is 240 lines per picture height, or about 320 lines across a scan line, and the vertical resolution (the number of scan lines) is the same as the respective analog TV standard (576 for PAL or 486 for NTSC; usually, somewhat fewer scan lines are actually visible due to overscan). In modern-day digital terminology, NTSC VHS is roughly equivalent to 333×480 pixels luma and 40×480 chroma resolutions (333×480 pixels=159,840 pixels or 0.16MP (1/6 of a MegaPixel))., while PAL VHS offers the equivalent of about 335×576 pixels luma and 40×240 chroma (the vertical chroma resolution of PAL is limited by the PAL color delay line mechanism).
Lossy data compression involves discarding some of the media's data so that it becomes simplified enough to be stored within the desired disk space or be transmitted (or streamed) within the bandwidth limitations (known as a data rate or bit rate for media that is streamed). If the compressor could not reproduce enough data in the compressed version to reproduce the original, the result is a diminishing of quality, or introduction of artifacts. Alternatively, the compression algorithm may not be intelligent enough to discriminate between distortions of little subjective importance and those objectionable to the viewer.
Compression artifacts occur in many common media such as DVDs, common computer file formats such as JPEG, MP3, or MPEG files, and some alternatives to the compact disc, such as Sony's MiniDisc format. Uncompressed media (such as on Laserdiscs, Audio CDs, and WAV files) or losslessly compressed media (such as FLAC or PNG) do not suffer from compression artifacts.
The minimization of perceivable artifacts is a key goal in implementing a lossy compression algorithm. However, artifacts are occasionally intentionally produced for artistic purposes, a style known as glitch art or datamoshing.
Technically speaking, a compression artifact is a particular class of data error that is usually the consequence of quantization in lossy data compression. Where transform coding is used, they typically assume the form of one of the basis functions of the coder's transform space."
"Count Zeppelin died in 1917, before the end of World War I, therefore he did not witness either the provisional shutdown of the Zeppelin project due to the Treaty of Versailles or the second resurgence of the Zeppelins under his successor Hugo Eckener. The unfinished World War II German aircraft carrier Graf Zeppelin, and two rigid airships, the world-circling LZ 127 Graf Zeppelin, and LZ 130 Graf Zeppelin II, twin to the Hindenburg, were named after him.
The name of the British rock group Led Zeppelin derives from his airship as well. His granddaughter Countess Eva von Zeppelin once threatened to sue them for illegal use of their family name while performing in Copenhagen."
This does not look aerodynamic and does not look like it could actually fly.
"Nick Turse explores how the industrial complex of the United States military has pervaded the everyday lives of Americans. Turse investigates the relationship between the Pentagon and the Hollywood entertainment industry, military actions in the civilian sphere, and joint projects between the U.S. military and companies including NASCAR and Marvel Comics. Turse describes how military tacticians and flyers were outfitted with Apple PowerBooks. He illustrates how the military has attempted innovative methods to reach out to and recruit contemporary youth, including making "friends" on MySpace. Turse notes that the research and development budget of the military, and its spending in the private sector, has increased dramatically over the last few years. The book posits that many changes have occurred since President Dwight D. Eisenhower's military-industrial complex, and relates the changes to the present day."
"A revolution in military affairs (RMA) has taken place in the US since the first Gulf War as the data-processing power of the computer has been applied not only to the strategic complexities that had prompted the development of the computer in the first place but, now, to the systematic operations of small units and individuals. The ability to micro-manage the organisation of logistics has raised the possibility of micro-managing the organization of information to target particular audiences among both the enemy and one’s own populations to produce close control of the media agenda. This process rests on the technologies and techniques that elide reality and simulation and mirror similar trends apparent in late capitalism’s embrace of the globilisation project. The RMA may also be seen as the US military-corporate-political response to the post-Cold War spread of fundamentalisms (both Islamic and Christian) and even as a means to police the emerging US Empire.
A number of authors have documented the rise of the information terrain as a major field of military endeavour. Greg Rattray considers the United States development of strategic information warfare in the ’90s and finds many similarities with their development of strategic air power in the ’20s, ’30s and ’40s (2001). Dorothy Denning argues for a view of information warfare based in the available countermeasures to economic threats such as computer break-ins, fraud, sabotage, espionage, piracy, identity theft and invasions of privacy (Denning, 1999). In a similar vein John Arquilla and David Ronfeldt, working for the Rand Corporation contract from the Office of the US Secretary of Defense, suggest the rise of netwar in the work of transnational criminal networks, gangs, hooligans, and anarchists while they spend a lot of time analysing the role of the internet in promoting democracy in Burma and Mexico (Arquilla and Ronfeldt, 2001). Again Andy Jones, Gerald Kovacich and Perry Luzwick approach information warfare from the point of view of the CEO looking for competitive advantage (2002). In contrast, Gerard Stocker and Christine Schopf draw together a range of views, offered at the Ars Electronica Festival ’98 Symposium, critical of the intrusive and manipulative practices of the military establishment (Stocker and Schopf, 1998). James Der Derian’s map of the emerging military-industrial-media-entertainment complex hints at the new connections emerging as the US military co-opts advances in games technology developed by the entertainment industry (Der Derian, 2002).
But the recent war in Iraq extended the information war concept into new territory. It was different to previous wars in one major way: this war was waged as entertainment.
But the recent war in Iraq extended the information war concept into new territory. It was different to previous wars in one major way: this war was waged as entertainment. It is not that the sight of a pathetically armed and disorganised rabble being blasted to oblivion by a massively armed military machine is in itself entertaining, though the ratings were not bad. Rather the US war machine has learnt much from the entertainment industry and is now pursuing battle plans that treat the “enemy” as the audience. This is what shock and awe is all about – give them a big production number and their hearts and minds will follow.
The entertainment paradigm is used not only to wage war against the Iraqis but also to manage the home front. The words of one senior White House official sums up the approach: ‘Boom, boom, we’re going in hard and fast,’ the official said. ‘By this time next week, sit by your TV and get ready to watch the fireworks’ (Coorey and Schlink, 2003). War as entertainment even played a role in focusing the efforts of US troops. As Vice-Admiral Timothy Keating told a massed meeting of US personnel just before the war: ‘Make no mistake, when the president says go, look out, it’s hammer time’ (Roberts, 2003). This a direct reference to the stylings of rap musician, MC Hammer. But the enemy is not always in on the act. The US has forgotten the power of the active audience so that Lt. General William S. Wallace was left to complain: ‘The enemy we’re fighting is a bit different to the one we war-gamed against…’. 
"iT's HAMMER TiME!"
PLEASE NOTE THE REFERENCE TO POP MUSIC WHICH IS WHAT THEY ARE REALLY ALL ABOUT (CULTURAL CREATION FOR BEHAVIORAL MANIPULATION SO YOU PAY YOUR TAXES)
"Former US President Eisenhower warned in 1961 of the power of the Military Industrial Complex shortly before that confection of influence peddling, political opportunism and inter-locking commercial interests led the US into Vietnam. Now there is a new force in the land, the military-entertainment complex evident in the close co-operation – and sharing – of ideas and resources: between computer games producers and the military, particularly on pre-training prospective candidates for the US armed forces; between Hollywood producers and the US government on language and concepts post September 11, 2001; and between the military’s propaganda machine and the entertainment industry’s thirst for manufactured and timely “reality” that precludes the possibility of the critical representation of the real.
The flexibility of the military-entertainment complex is evident in the interchange of personnel between both wings, from military to entertainment (Coffee, 1995 : 30; Pollack, 1997: 1) or a virtual-reality expert from Disney’s Imagineering group joining the National Security Agency (Peter Huck, 2003). In the carefully plotted production of the second Gulf War, it seems that the military has turned to the entertainment industry to respond to Baudrilliard’s critique of the first Gulf War:
…the war, along with the fake and presumptive warriors, generals, experts and television presenters… watches itself in a mirror: am I pretty enough, am I operational enough, am I spectacular enough, am I sophisticated enough to make an entry onto the historical stage? … this uncertainty invades our screens like a real oil slick, in the image of that blind sea bird stranded on a beach in the Gulf, which will remain the symbol-image of what we all are in front of our screens, in front of that sticky and unintelligible event. (Baudrilliard, 1995: 31)
From the attention-grabbing intro of fireworks over Baghdad, through the chase scenes of tanks racing across the desert, with the sub-plot of Saving Private Jessica to the toppling of Saddam’s statue, this time the story was seamless. Each moment designed for prime time, each plot point subtly inter-woven into one unstoppable meta-narrative. Resistance is futile, you can’t stop the music. At least until the President declares the war is over and the real war begins between an occupying army and a fanatical guerrilla opposition indistinguishable from the population. It took about six months to move the full circle. The simulations that began as theories about reality for planning and training purposes took on the form of reality in the heat of battle only to be revealed to be inaccurate as either reality or simulation in the harsh light of peace. Private Jessica’s own disavowal of the military’s mythology is a case in point: the military continues to claim she was raped while Jessica denies it.
The military uses of entertainment and entertainment’s uses of the military have a long history that precedes their well-orchestrated double act in the recent troubles. It is useful to consider how their purposes came to be so closely integrated, not only to appreciate the actual course of recent history (as opposed to the big concept story lines of good vs. evil that occupy the front pages and TV news breaks). But also to understand the possibilities for countering the growing power of the military-entertainment complex."
SOURCE ARTICLE BELOW:
The “wars of stars” that our ancestors saw on the cave’s wall were projected by the fire of the imagination. The cave or hell was and is our own minds. The artificial world exists as a mental construct alone. This is the seeming intended meaning of the film “The Matrix”. The Virtual Reality is simply the one projected into your own “mind’s eye”. The artists and craftsmen have always been employed by patrons to do this very thing. Art is employed not to educate the mass public, but to indoctrinate the mass. To keep the mass in a circle from which they cannot escape. This is a mental prison. One that defies the natural world in favor of defining reality in whatever terms the Nobility deem fit for the time. As long as the overall agenda is maintained and followed all is good.
This is how the scheme seems to work centuries back and it is the very same con they run today. Consider this fact, the Royalty of France and England, for instance are actually on the same side. The “enemy” is actually all the people who are the ones treated as work animals. Before the industrial revolution, animals were not only modes of transportation but also used as tools and machinery are today for things like farming, for example. People were and are the other resource and prior to the industrial revolution things like indentured servitude and slavery were supposed to be common. So the concept is to keep the mass public believing they need the protective castle walls and royalty or the folks from the other kingdom are going to invade the land. Keep working on the king’s farm or else…
When the battles are supposed to take place far away at sea, it’s hard for the average serf or peasant or even merchant to know what really happened and what is just tall tales or BS. Lying is easy and simple word of mouth is the original “film screen” or medium of storytelling and “NEWS”. When people lived their entire lives in one village, it was easier to lie about the events that occurred in the rest of the world. Today we think we are seeing real images on the video screens and it is labelled as such. But what we see on these screens labeled as “NEWS” are just images that we cannot examine ourselves. We have to rely on the word of mouth of the journalist to tell us what we are seeing. These video packages are all very edited and nothing can be taken at face value.
“England's crushing defeat by France, the dominant naval power, in naval engagements culminating in the 1690 Battle of Beachy Head, became the catalyst for England's rebuilding itself as a global power. England had no choice but to build a powerful navy. No public funds were available, and the credit of William III's government was so low in London that it was impossible for it to borrow the £1,200,000 (at 8% p.a.) that the government wanted.
To induce subscription to the loan, the subscribers were to be incorporated by the name of the Governor and Company of the Bank of England. The Bank was given exclusive possession of the government's balances, and was the only limited-liability corporation allowed to issue bank notes. The lenders would give the government cash (bullion) and issue notes against the government bonds, which can be lent again. The £1.2m was raised in 12 days; half of this was used to rebuild the navy.
As a side effect, the huge industrial effort needed, including establishing ironworks to make more nails and advances[clarification needed] in agriculture feeding the quadrupled strength of the navy, started to transform the economy. This helped the new Kingdom of Great Britain – England and Scotland were formally united in 1707 – to become powerful. The power of the navy made Britain the dominant world power in the late 18th and early 19th centuries.
The establishment of the bank was devised[clarification needed] by Charles Montagu, 1st Earl of Halifax, in 1694, to the plan which had been proposed by William Paterson three years before, but not acted upon. He proposed a loan of £1.2m to the government; in return the subscribers would be incorporated as The Governor and Company of the Bank of England with long-term banking privileges including the issue of notes. The Royal Charter was granted on 27 July through the passage of the Tonnage Act 1694. Public finances were in so dire a condition at the time that the terms of the loan were that it was to be serviced at a rate of 8% per annum, and there was also a service charge of £4,000 per annum for the management of the loan. The first governor was Sir John Houblon, who is depicted in the £50 note issued in 1994. The charter was renewed in 1742, 1764, and 1781.”
Religions are not spiritual. God is not in any religion. Religion derives from the latin words for link or ligament. It implies a link in a chain. The word Church means circle. Like sheep we are meant to stay within our circle and heed our shepherd. Today we have the traditional faiths and the neo-religion of mainstream science.
Mainstream science is just another faith. Here’s how you can tell. Science means you can reproduce the experiment. Real science and real engineering are based on discovering natural principles, it is not based on enforcing an artificial set of terms and misleading mantras . Real science does not require blind parroting. It requires that we try to see things how they really and naturally are. How God or Mother Nature ‘intended’, not how we want them to be.
The wars of the 20th Century and today would not have been possible without the art and craft of film making nor would the wars have been possible without the means of distribution of this product.
A Lilliputian army and navy needs to be projected onto a large screen. And as we have seen, the RKO Theater chain is an example of this very thing. The old news reels were shown between films like the news is shown on television today. It was fake then and it is fake now. More than likely the nobility have been faking it for centuries, since they were the ones who would have been educated in the arts in the first place.
Religions are customs. Costumes the Nobility puts on and takes off. It’s all a show. If you like the old Superman custom of wearing your underwear on the outside of your clothes you might not like the new fashion of Super Hero “costume” these days.
So we paid for Hollywood & the Computer Video Game Industry? That would seem to be all we can prove based upon the evidence provided by both the military and news media. There looks like there is a real possibility that the the military and the wars are more illusion than real. It’s a pleasant thought at least. This does seem to fit the modus operandi of the News Media Promoted “Psy-Op Event”. Keep in mind the history of modern News broadcasting originates in radio and in news reels and in newspapers and as we have seen we can trust none of those forms of media .
The U.S.A. is a Commercial Enterprise It does not work for you. When someone swears to uphold the Constitution they are pledging their allegiance to this corporate entity. Defending the Constitution of the United States of America is not the same as defending YOU. Get it? None of these people you elect to the District of Columbia, an independent City-State like the Vatican, work for you. They work for the elite. The elite would be the families who have control over the world as we know it. You can call them Kings or Queens or Mr. and Mrs. Labels Do Not Matter.
THE TRUTH TRANSCENDS ANY MAN-MADE OR ARTIFICIAL LAW - FREEDOM OF SPEECH IS A NATURAL "RIGHT"
How can we take the “Chicken Little-Boy Who Cried Wolf” Press who obviously work for the Military Industrial Entertainment Complex™ (whether they know it or not) Seriously?
They show us highly edited video footage of terrorists only they can find. They show us all the images of our “evil” war machine and we are supposed to think "the maniacs in charge are sociopathic Monsters".
This is a Wizard of Oz Defense and is what the small mouse does when he projects a huge shadow onto a screen. That is what propaganda is. The concept is to win without firing a shot. It’s a mind war. “They” do not have the power they claim and they are not as evil as they claim, nor are they all knowing. These three concepts: All Power. All Knowledge. All Evil (or Good) are how the mass public has been managed for centuries by way of the apparatus we know as “religion”.
We are supposed to think that the government has caused a mess in the Middle East and “we” have to pay our taxes to clean it up. Get it? Or We have to pay our taxes to kill the enemy who we all agree must be killed.
THEY ARE AFRAID oF US!
“Supermouse” (are we people or mice?) or rather Superman is on “your side” not ‘theirs”.
Augmented reality already is. It is on screens everywhere. The News is more fake than not.
TV SPIES & LIES
How can individuals end up “knowing everything” if the military and government are actually run “compartmentalized” as claimed? Other corporations work like that, so why would the U.S.A. Corporation be any different?
Believe Half of What You See and None of what You Hear.
Who Owns What?