This article is an edited version of an article originally published a while back. I am reposting this extensively updated version to provide some background information as supplement for what is to come. This article represents the backbone of the research I have done into this subject matter. I have added a lot more information than I had originally intended, as I want this blog post to be as complete and as thorough as possible.
I am currently working on a series of articles focused on very specific aspects of the outer space hoax and am talking extra time to ensure the resulting work is as complete and easy to read as possible. The International Space Station can only exist as art of some kind. It is an onscreen artifact. It is not a physical body in an impossible orbit. Newtonian orbital math models nothing real and ignores the demonstrable accelerated effect of gravity, the supposed Earth's curvature size, and real world ballistic physics as well as the parts of Newton's own work that make sense, and this will be one of the subjects of one of the articles in the series I am currently working on. Another article in the same series will examine sighting the light in the sky that is supposed to be the International Space Station. A third article I am developing will show why International rocket launch videos are fake and do not represent what the space agencies claim.
There's a lot more to come, so many aspects of the international space hoax and other forms of social engineering to research and write about. And as I return to doing just that, please let me add that I wish to thank you for taking the time to read this.
Please excuse any inevitable typo you may encounter,
AA 'The Proper Gander' Morris
FAKE NEWS • FAKE WAR • FAKE HISTORY • FAKE SCIENCE
A PROPER GANDER AT: The History of Faking Space Stations
The image of the space station you are looking at is more than likely a photograph of a model composited with old school darkroom matte techniques on top of the background image of something that is supposed to be the Earth. If you watch the older footage that was televised to the mass public back during the 20th century you will begin to notice all sorts of telltale signs of visual effects work. Today, artists use digital based tools like Adobe After Effects to create the exact same kind of illusions. There are many techniques and different ways to create believable illusions; some are darkroom and post production techniques and some are in camera real time techniques, without or with computer aid. The above image could be the result of miniatures hung from invisible to camera lens wire, filmed realtime in studio. The point I am trying to make is that we cannot trust what we see on screens, especially when it is imagery of something from outer space, like an orbiting space station. Orbits are impossible, they are mathematical fantasy only. The images of satellites orbiting the Earth are obviously contrived and do not represent tangible reality. Of course there is good chance that computer composited photographic imagery is older than we generally might be inclined to even consider, but that is a subject for a future article. Traditional photography and traditional film visual effects were once the cutting edge "virtual and augmented reality" technology, everyone was enamored with.
Photographic manipulation is old as photography itself.
Believe half of what you see and none of what you hear.
NASA and related governmental agencies have always used our taxes to fund the research and development of various forms of electronic technology related to communications. Cold War era DARPA funding leads to things like Bell Labs research into electronic communications and computer graphics technology. Mass communicated art is always used as culture creating medium.
1970's NASA CGI
"The Jet Propulsion Laboratory (JPL) was and is a federally funded R&D center and NASA field center located in the San Gabriel Valley area of Los Angeles County, California. Blinn would become synonymous with JPL and with graphics in general. This link between JPL and Blinn turned on the now famous NASA Voyager / JPL flyby simulations of Jupiter and Saturn. So young was computer graphics and its use so rare in the public arena that when Blinn's shots were shown widely on the national news, people thought they were real. "There were two Voyager spacecraft sent up to Jupiter and Saturn," recalls Blinn, "and they got there about six or eight months apart. Some people thought that the movie was made by one of the spacecraft watching the other one."
"Ivan Sutherland had just left Utah at this time, but someone recommended Blinn to him as a promising student. Years later, Ivan Sutherland would remark: "There are about a dozen great computer graphics people and Jim Blinn is six of them." From 1968 to 1974, Sutherland was a professor at the University of Utah. Among the students at that time were Alan Kay, inventor of the Smalltalk language (Apple Fellow), Henri Gouraud, who devised the Gouraud shading technique, Frank Crow, who went on to develop antialiasing methods, and Edwin Catmull, computer graphics scientist, co-founder of Pixar and now President of Walt Disney and Pixar Animation Studios. In 1968, Sutherland co-founded Evans and Sutherland with his friend and colleague David C. Evans. The company has done pioneering work in the field of real-time hardware and accelerated 3D computer graphics. Their story and hardware was central to the history of the whole industry. When Sutherland left Utah, "he called back to Martin Newell asking for someone to help him make a test image for a presentation," recalls Blinn. "So I did that for him while I was a graduate student, sort of remotely as he was not at Caltech yet. So when I graduated from Utah, he had just started his tenure at Caltech, so I called him up and said hi and I am interested in maybe joining your department at Caltech, but to be honest with you what I am really interested in is JPL, because JPL is run by Caltech and I am interested in the space exploration." Sutherland responded that Blinn's timing was excellent as "someone at JPL had just got a duplicate of what was at Utah and they were looking for someone to run it." So Blinn went to Caltech as a Postdoc, and spent half is time teaching at Caltech and the rest at JPL."
"Martin Newell developed the Utah Teapot while working on a Ph.D. at the University of Utah, where he also helped develop a version of the painter's algorithm for rendering. He graduated in 1975, and was on the Utah faculty from 1977 to 1979. Later he worked at Xerox PARC, where he worked on JaM, a predecessor of PostScript. JaM stood for "John and Martin" - the John was John Warnock, co-founder of Adobe Systems. In 2007 Martin Newell was elected to the National Academy of Engineering. He recently retired as an Adobe Fellow at Adobe Systems."
image and quote source: https://www.fxguide.com/featured/founders-series-industry-legend-jim-blinn/
HISTORY OF THE JPL COMPUTER GRAPHICS LAB
"The mission of the NASA JPL Computer Graphics Laboratory (1977 - 1990) was to apply the then-new field of 3D computer graphics to applicable areas of NASA spaceflight operations. The lab produced computer animations of many spacecraft planetary encounters, including Voyager and Pioneer and other deep space missions. It also provided advanced computer graphics engineering support for the Voyager and other missions. External projects included animations for Carl Sagan’s "Man and the Cosmos" series, several British Broadcasting Company "Cosmos" episodes, "Mathematics!", "The Mechanical Universe", and "The Mechanical Universe and Beyond".
The lab's major activities included:
• Interactive 3D graphics for space-mission simulation, spacecraft engineering support, and space-mission design.
• 3D graphics for ocean exploration.
• Science for texture mapping, bump mapping, and reflectance mapping.
• Digital-image painting technology.
• Science for intrinsic surfaces.
• Visualization of integrated circuits.
• Computer animation for education in publicly broadcast educational series.
"The lab's animations were NASA’s first uses of 3D computer animation. They were also the first major public releases of 3D computer animations. A great deal of published science resulted from the research and development needed to create these animations."
source: http://s2017.siggraph.org/panels/events/history-jpl-computer-graphics-lab via, if memory serves, John Adams from www.Hoax Busters Call.blogspot.com, who covered this subject with Chris Kendall some time back.
FAKE NEWS • FAKE WAR • FAKE HISTORY • FAKE SCIENCE
Before images of fake outer space there were fake images of war. We have been collectively conditioned with over a hundred years of exposure, to believe what we see on screens. This is a mistake.
Public opinion shaping images matter more than reality. As it turns out, history is made of a lot of deceptive propaganda and is less a recording of actual reality and more a recording of fundamentally important, cultural shaping mythology. Deceptive artworks sold as depictions of real events are nothing new.
Newsreels become important historical documents.
Newsreels shown in darkened film theaters were one of the main sources for official governmental War News. These newsreel documentaries serve as source for subsequent history books. The fact is these documentaries are not as real as advertised; and the fact is this information is in the mainstream media. History books are filled with many lies. Nation building mythology matters more than historical accuracy. Wars are not as real as people think. All one needs to do is watch the many hours of official governmental documentary footage available online that is put forth to be evidence of real events of war to notice all the usual edits and standard Hollywood film practices. The footage is usually highly edited and contrived and really should not be trusted.
Documentaries are propaganda too.
Footage labeled real with official governmental seal, is clearly not. Documentaries were never true records of reality.
"The pioneering early documentaries of John Grierson were heavily and openly scripted."
""Documentary," says the dictionary. "Noun. Based on or recreating an actual event, era, life story, that purports to be factually accurate and contains no fictional elements." Small wonder the jury were split. This ironclad definition leaves no room for the likes of The Arbor, with its lip-synching actors, and no room for the recent Alamar, a staged documentary about a Mexican fisherman and his son that nonetheless manages to be tender, touching and true. Presumably it also locks the door on Ari Folman's electrifying animated Waltz With Bashir; a film that was all about false memory and that opened, memorably, with a dream sequence involving a pack of devil dogs. Errol Morris, whose groundbreaking The Thin Blue Line, from 1988, lays on a buffet of dodgy eye-witnesses and corrupted reconstructions, is likewise barred from the party. It's simply that the further back in film history one goes, the more limiting – if not outright redundant – the dictionary definition turns out to be. The pioneering early documentaries of John Grierson were heavily and openly scripted. Robert Flaherty's 1922 classic Nanook of the North, while embraced as an authentic window on the Inuit lifestyle, was actually staged for the cameras. In fact, it was only with the arrival of cinema vérité in the 1960s that the documentary and the dictionary begins to dovetail. Our concept of the genre as representing a pure and overriding truth is drawn straight from the films of Fred Wiseman, Barbara Kopple and the Maysles brothers, with their handheld cameras, mobile mics and freewheeling sense of life on the run."
"A picture is worth a thousand words."
"Lights, camera fiction: Second World War documentary footage a Hollywood fake."
"FIVE legendary Hollywood directors secretly faked combat footage in Second World War documentaries that have been considered genuine for almost 70 years..."
image and headline and quote source: https://www.express.co.uk/news/world/463830/Lights-camera-fiction-Second-World-War-documentary-footage-a-Hollywood-fake
Believe it or not, but faking images of outer space is derived from faking images of war.
Human beings are far from perfect and the people that run international space agencies are no more or less prone to mistakes, or prone to even group think based error, than any of us are. It is painfully obvious to me that the Military Industrial Entertainment Complex and News/Propaganda industry are ill equipped to deal with modern 21st century social media times. Today we have had decades of exposure to computer equipment and software that mimics old school darkroom technique; and we have easy access to an internationally connected computer based network of information. The internet is not only a very real "Library of Alexandria", it is also a very real medium for sharing all sorts of content. We can easily download the computer graphic tools we would need to begin to craft our own believable on screen illusions and the same tools can be used to analyze all the faked footage put forth as real. Today our children have easy access to numerous forms of the very virtual and augmented technology our tax money has long been spent on research and developing, There are countless hours of internationally derived supposed space exploration footage easily accessed online. A lot of this footage is from lower resolution non-digital times. The 20th century footage of space travel does not hold up to high definition digital scrutiny. It is obvious that the World War Two era V2 rocket footage is fake as it is equally obvious that the Space X, Buck Rogers rocket footage of today is equally cartoonish and equally as fake.
Outer Space is only an idea, It is not a place any of us can visit, despite the fact that we have been internationally footing the bill for it all since the end of World War Two.
International space agency style rockets have always been on screen artifacts only. The real pioneers in this "science" were film makers, stage magicians and visual charlatans of one kind or another. Huge rockets are artifacts of international interest. These are Cold War era elements that are symbols of both hope and destruction. The same technology that the self proclaimed super powered governments of the world claim sends human beings into outer space with mathematical precision is also the same technology that allows the same governments to claim they can use the same mathematical precision to rain ballistic annihilation capable of wiping out nations states, down from on high like the Gods of the mythical ancient world. As it turns out all of these claims are lies. The Cold War is another lie. The world is simply not run as advertised and this is something you can research for yourself like everything else. Nation states and other forms of government do not really represent "We the People" as patriotic advertising myth leads us to believe. The truth is that government is a world wide human resource management tool more than anything else. International banking interests run the show. The same interests that always have. It's not really a secret. It's just that people do not read any of the fine print. This is not the subject of this article, please see the article index if you have questions, but suffice it to say that basically the United States is still a British colony, the devil is in the details of treaties like the Treaty of Paris of 1783. The devil is in the details of all the contracts, laws, treaties, constitutions and other forms of paperwork that binds this world. The Soviet Union got to play good guy to the Russian people while acting as bad guy and Platonic shadow cave threat to justify more defense spending by the United States government who need to have federal taxes to pay for all of that. The United States gets to play good guy for the American people as they duck and dover in fear of fake Soviet threat and the Russians do the same as they are grateful that the Soviet war machine, with its ballistic missile, outer space prowess, can keep them safe from craze United States capitalistic threat. One person's bad guy is another person's savior. Or at least that's how it's supposed to work. I think this context important, as it explains how an international space program is controlled by international interests that do not actually represent the best interests of "We the People" as we've been long told. Governments work for international banking managers of a very old world wide enterprise.
A fake international space program needs to have an internationally controlled mainstream News media.
The international control of the news as we understand it today begins with the invention of the Newsreel. We can see how this was always international in scope. This article is meant as a summary and I am trying to avoid going off on tangents but I think it is important to provide some relevant historical context to all of this. Film making was always used as a tool for government. The military has always been interested in using filmed propaganda to win hearts and minds. What we are not supposed to consider is that the real target of this propaganda is the mass world wide human population, We are not supposed to notice that fake images of war keep us tied to needless government. We keep toiling away at the wheel of industry and we keep paying taxes for it all. Most of us truly believe we need all the layers of government we do not need. Phantom threats and outer space based Platonic shadow threats are great tools to use to keep most of us in our wage slave place, mentally ducking and covering and hoping our nation states can keep us safe. We are not supposed to notice that the threats are not real. The International Space programs are integral to the way the modern world is organized in terms of the military industrial complex that continues to grow and spread like cancerous tumors. This complex is more interested in producing fake images of war, fake school shooting news stories, fake terrorist events and all sorts of other adult cartoon nonsense sold as reality to a mass public who seems to accept such things as true because they've seen it for themselves on a screen. Most people cannot seem to overcome lifelong indoctrination to have faith in what they see on screens, even when what they are watching is in highly edited, contrived form. Do not believe what you see on a screen without a lot of critical thought, especially when what you are seeing is something that would seem to be impossible, like huge rocket launches into outer space.
Newsreels evolve into television news and in many ways, none of it was very real in the first place. It was also always controlled on an international scale.
News is used to shape public opinion and to also shape the opinion of lawmakers across the world. Governments are compartmentalized and those who work for it are on National Security required need to know basis. Governmental employees and many elected officials not in the know are, more than likely, subjected to more propaganda than even we in the public are.
1911: Charles Pathé, an early film pioneer, invents the newsreel.
Modern television News evolves from film theater Newsreel.
"A newsreel is a form of short documentary film prevalent between 1910s to 1960s, 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 exhibited 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."
"Newsreels are now considered significant historical documents, since they are often the only audiovisual record of historical and cultural events of those times."
image source: https://en.wikipedia.org/wiki/Pathé_News
British Pathé News created in 1911.
Those who control the newsreels control history.
"Created in 1911 by Charles Pathé, 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 May 23, 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."
"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."
image source: Model of Satellite in Orbit (1962) • https://orbitglobe.com/#/video-details
Pathé News: an international news service.
"Pathé News was a producer of newsreels and documentaries from 1910 until 1970 in the United Kingdom. Its founder, Charles Pathé, was a pioneer of moving pictures in the silent era. The Pathé News archive is known today as British Pathé. Its collection of news film and movies is fully digitised and available online."
"Its roots lie in 1896 Paris, France, when Société Pathé Frères was founded by Charles Pathé and his brothers, who pioneered the development of the moving image. Charles Pathé adopted the national emblem of France, the cockerel, as the trademark for his company. After the company, now called Compagnie Générale des Éstablissements Pathé Frère Phonographes & Cinématographes, invented the cinema newsreel with Pathé-Journal. French Pathé began its newsreel in 1908 and opened a newsreel office in Wardour Street, London in 1910. The newsreels were shown in the cinema and were silent until 1928. At first they ran for about four minutes, and were issued biweekly. Even though during the early days the camera shots were taken from a stationary position, the Pathé newsreels captured events such as Franz Reichelt's fatal parachute jump from the Eiffel Tower, and suffragette Emily Davison's fatal injury by a racehorse at the 1913 Epsom Derby. "
"During the First World War, the cinema newsreels were called the Pathé Animated Gazettes, and for the first time this provided newspapers with competition. After 1918, British Pathé started producing a series of cinemazines, in which the newsreels were much longer and more comprehensive. By 1930, British Pathé was covering news, entertainment, sport, culture and women’s issues through programmes including the Pathétone Weekly, the Pathé Pictorial, the Gazette and Eve’s Film Review. In 1927, the company sold British Pathé (both the feature film and the newsreel divisions) to First National. (French Pathé News continued until 1980, and the library is now part of the Gaumont-Pathé collection.) Pathé changed hands again in 1933, when it was acquired by Associated British Picture Corporation. In 1958, it was sold again to Warner Bros. and became Warner-Pathé. Pathé eventually stopped producing the cinema newsreel in February 1970 as they could no longer compete with television. During the newsreels' run, the narrators included Bob Danvers-Walker, Dwight Weist, Dan Donaldson, André Baruch, and Clem McCarthy, among others."
"The British and American newsreel companies separated in 1921 when the American company was sold. In 1947, the film assets of the successor companies of Pathé News, Inc. were purchased by Warner Bros. from RKO Radio Pictures, which had acquired them in 1931. Warners, as had RKO before them, continued to produce the theatrical newsreel Pathé News, its title changing from RKO-Pathe News to Warner-Pathe News. Warners also produced a series of 38 theatrical short subjects, and 81 issues of the News Magazine of the Screen series, which added to the Pathé film properties and are now part of the company's extensive film library. Producer/editor Robert Youngson was primarily responsible for these series, and won two Academy Awards for them. In 1956, Warner Bros. discontinued the production of the theatrical newsreel and sold the Pathé News film library, the 38 theatrical short subjects, the Pathé News Magazine of the Screen, the crowing rooster trade mark and the copyrights and other properties to Studio Films, Inc.—shortly thereafter named Pathé Pictures, Inc.—which subsequently relinquished the name and film properties of both companies to Pathé News, Inc. Other U.S. newsreel series included Paramount News (1927–1957), Fox Movietone News (1928–1963), Hearst Metrotone News/News of the Day (1914–1967), Universal Newsreel (1929–1967), and The March of Time (1935–1951)."
The same people that pioneered the Newsreel also pioneered film special effect trickery.
Late 19th, Early 20th Century Visual Effects
"In 1898 Charles Pathé engaged 'for a few weeks' a young man who 'was playing the cornet at the Foire au Pain d'épices'. The few weeks were to last almost twenty years. The young man was Ferdinand Zecca. He was the second son of the concierge of the Théâtre de l'Ambigu in Paris, and was making his living as a café entertainer. In 1899, Zecca and another artist, Charlus, were performing a musical fantasia entitled Le Muet mélomane. At the request of Dufayel, owner of the Grands Magasins Dufayel, they acted the piece before a camera. In April 1900, at the Paris Exposition Universelle, Charles Pathé, in a hurry to instal the pavilion allocated to him, gave the job to Zecca. He managed it so well that Pathé appointed him as assistant to the director at his Vincennes factory. From then on until 1906, Zecca himself directed or supervised several hundred Pathé films. The first of these are obvious copies or plagiarisms of English films, for example La loupe de grand-mère or Rêve et réalité, both from 1901, to cite only two. But Zecca was soon creating his own films. A la conquête de l'air (1901) showed a strange machine, called Fend-l'air, flying over the rooftops of Belleville. Above all, one of the first dramas, L'Histoire d'un crime (1901) was stylistically innovative in its use of superimposition. Alone or with Lucien Nonguet, in 1901 Zecca began to make fairy tales (féeries). With the indefatigable Zecca in charge, dozens of films were produced at Vincennes. These were not only comedies, trick films or fairy tales, such as Les Sept châteaux du Diable, both 1901, and La Belle au bois dormant in 1902, but also social dramas like Les Victimes de l'alcoolisme (1902), Au pays noir (1905) and reconstructed actualities, the most famous being La Catastrophe de la Martinique (1902). He also acted in many of his trick films. At the end of 1906, Zecca, assisted by the Spaniard Segundo de Chomón's photography and special effects, started filming in colour a second Vie et Passion de N.S. Jésus Christ, in four parts and 38 scenes, 990 metres long, which he finished in 1907. This was probably his last work as director. From then on he devoted himself exclusively to production and, eventually, to administration. In 1915, he left for the United States to run the new company Pathé Exchange and in 1923, he became head of the world famous Pathé Baby subsidiary."
FAKE NEWS • FAKE WAR • FAKE HISTORY • FAKE SCIENCE
Visual Effects 1902
images source: 1902 film, "A Trip To The Moon"
The above image was painstaking crafted with 19th century, early 20th century technology. Today a computer animation program like Adobe After Effects makes such photoshop work easier than ever.
Faking outer space is something that evolved from the long and demonstrable history of faking stories of war.
I think it's important to understand the real historical context for the international space fraud. It begins with faking images of war. The World War Two era V2 rocket stories are also not what we've been told and these rockets are earlier forms of the same kind of fake rocket imagery we are exposed to today with the work of Space X. Miniature rocketry sold as huge ballistic threat is noting new. Fake moving images of war sold as the real thing dates back to before even the beginning of the 20th century.
FAKE NEWS • FAKE WAR • FAKE HISTORY • FAKE SCIENCE
"The Early History of Faking War on Film"
"Early filmmakers faced a dilemma: how to capture the drama of war without getting themselves killed in the process. Their solution: fake the footage"
"Georges Méliès, the pioneer filmmaker, shot faked footage of the war of 1897—including the earliest shots of what was claimed to be naval warfare, and some horrific scenes of atrocities in Crete."
"All were created in his studio or his back yard in Paris."
source: Mike Dash smithsonian.com November 19, 2012 • https://www.smithsonianmag.com/history/the-early-history-of-faking-war-on-film-133838317/
Charlie Chaplin's propaganda film, "Zepped"
"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 film features the only known footage of a Zeppelin raid over London, although the experts are divided on whether it is real or clever puppetry."
"It also features early experiments with animation, including the face of Kaiser Wilhelm emerging from a German sausage."
image and quotes source: http://www.dailymail.co.uk/news/article-1392472/Rare-Charlie-Chaplin-film-sale-worth-100-000.html
"Zepped is a 1916 propaganda comedy short film about a German Zeppelin attack on London during the First World War. Charlie Chaplin appears in the film, although it is unlikely he himself was involved in the production. Making use of stop-motion animation, Zepped uses possibly previously unknown outtakes of three or four earlier Chaplin films: His New Profession (1914), A Jitney Elopement (1915) and The Tramp (1915), and according to Bonhams, By the Sea "
This video explains it all. Hollywood was always a two faced propaganda weapon of government.
Whether producing pro-peace propaganda or pro-war propaganda, Hollywood played both sides, like it still does today. I highly recommend watching at least the beginning of this video. It is from a television series from the late 20th century and really does an excellent job of explaining how Hollywood is used to shape culture. In this case, World War One would basically allow Hollywood to grow into the multimedia machine it is today. Hollywood and government both sold the public on peace and then did an about face and sold the exact opposite idea, and after a governmental and Hollywood promoted propaganda campaign, the public went along with it.
source: Hollywood - Ep 4 : Hollywood goes to War • jamon2112 • https://www.youtube.com/watch?v=yLtXuGded04&feature=youtu.be
World War One: The dangers of embroidering the truth.
"...but newspapers learned that the accompanying pictures were fake,..."
"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 public opinion to support US participation in World War I. In just over 26 months, from April 14, 1917, to June 30, 1919, it used every medium available to create enthusiasm for the war effort and to enlist public support against the foreign and perceived domestic attempts to stop America's participation in the war. It used mainly propaganda to accomplish its 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."
"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."
"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."
Crashing a Zeppelin for Fun (May, 1931)
"Jealously guarded secrets of the amazing Zeppelin crash in “Hell’s Angels” now revealed to Dick Cole by Howard Hughes, the producer of this spectacular movie. “Wasn’t it marvelous! How in the world did they ever take it?” Such exclamations and questions are heard on every side as a teeming crowd pours forth from a theater after seeing “Hell’s Angels” -—the outstanding aerial war picture of the day. And it is little wonder! For several hours the spectators have been soaring 10,000 feet above the earth in a huge, wartime Zeppelin, or they have been sky-riding in a giant bombing plane."
"This is but one of the breath-taking scenes from “Hell’s Angels.” Again the puzzling question: “How in the world did they take it?”
"Of course, anyone’s ordinary reasoning power tells one that it was not a full-size, man-carrying Zeppelin that fell from out the skies. But, to believe so, is no more erratic than to believe the know-it-all, wise guy, who tells you in tones of belittlement: “Huh! It was just faked! I know! That was just a toy balloon that they used.” Both beliefs are wrong. It was done by scale model photography. This is not comparable at all to the crude miniature stuff that is injected from time to time in pictures, and which often changes a tragic situation into a comic farce. Nor are scale models employed solely to keep down production cost. The primary purpose is to put across a scene with greater realism and finer photographic values. The use of scale models should not imply belittlement. In producing “Hell’s Angels,” it was entirely within the range of the pocket-book of the producer, Howard Hughes, to buy and to wreck a full-size Zeppelin. But, even so, the film record would not be comparable with that recorded with the use of the scale model. In the latter case, the entire set was under the complete control of the director; the set was lighted to give the best photographic values; close-up shots of the Zeppelin falling in flames and its ultimate crash to the earth were taken with precision; all of which would have been impossible if a full-size airship were used, to say nothing of the hazard to life and property. To produce the Zeppelin scenes, Mr. Hughes gathered about him a staff of the cleverest technicians in the United States. A model Zeppelin was built—an exact replica of a German, wartime dirigible. This was built to a scale of one foot equals one inch. So the model was approximately 60 feet long and 6 feet in diameter. Quite a sizeable “miniature”! Even the framework followed closely the true Zeppelin design."
"The huge dirigible hangar at Arcadia—-adjacent to Los Angeles—was leased from the government, and in this building all the scenes of the Zeppelin were shot. Lights giving millions of candle-power were installed. Miniature sets were laid out on the floor to give suitable back-ground for vertical shots of the “Zep.” Chemical apparatus was installed to create clouds. A steel cable was stretched from one corner post to the middle of the opposite wall. The Zeppelin was suspended from a trolley which traveled on the cable. It could move along the cable about four times its length. Other cables permitted the Zeppelin to be raised or lowered at the will of an operator at an electric winch. Runways—or balconies—completely around the inside walls of the hangar, were vantage points for the numerous cameras. In addition, portable, parallel platforms could be moved anywhere on the floor. A cat-walk near the roof of the hangar was utilized for vertical shots. In presenting the picture on the screen, the Zeppelin makes its first spectacular appearance emerging from a fleecy, cumulus cloud. The clouds are seen to roll back as the nose of the airship pushes through. This is a close-up shot, and so real that it seems the Zeppelin must leave the screen and soar into the auditorium of the theater."
"How was it done? The Zeppelin is at the end of the cable farthest from the camera. Immediately in front of the airship a dense cloud of “liquid smoke” is released. This is the chemical used for laying down a smoke screen or for “sky-writing.” This gas remains as a gaseous mass for some time before diffusing into the air. The Zeppelin is slowly drawn through this “smoke.” Vivid lighting effects reproduce the smoke as a cumulus cloud. Next, the spectator is permitted to ride in the “Zep” and see its inside workings; the skeleton framework; the gas bag; the power gondolas. The motors are running—real motors. One sees the rocker-arms rock, and hears the clicking tappets. On the model Zeppelin, the propellers are turned with quarter H.P. motors. The interior sets of the Zeppelin were built full size. 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."
images and article quotes source: http://blog.modernmechanix.com/crashing-a-zeppelin-for-fun/
FAKE NEWS • FAKE WAR • FAKE HISTORY • FAKE SCIENCE
"Lights, camera fiction: Second World War documentary footage a Hollywood fake"
"John Ford, John Huston, Frank Capra, William Wyler and George Stevens all enlisted despite their glittering Hollywood lifestyles and joined other filmmakers recording the Allied advance across occupied Europe and in the Pacific. ... Ford and his co-director Gregg Toland, who had been the cinematographer on Citizen Kane, staged their own using model battleships and aeroplanes in the Fox studio in Hollywood. ... In Five Came Back, published last week in America by Penguin Press, he reveals the late Frank Capra, whose three Oscars include It Happened One Night and It’s A Wonderful Life, completely faked a victory by the British Army in Algiers. He filmed “blown-up cities being blown-up some more” and in notes acquired by Mr Harris admits: “We took tanks and ran them through the water like they did when the British Seventh Army cut off the Germans by taking their tanks out into the water.” Additional “African” footage was later shot in California’s Mojave Desert while dogfights between Allied fighter planes and fake German ones were filmed in Orlando, Florida."
"Decades later both Capra and Huston admitted in interviews that some of their bogus work was “disgraceful” but Huston was less frank publicly about the authenticity of his acclaimed documentary The Battle Of San Pietro, which, in 1991, was selected for America’s prestigious National Film Registry of the Library of Congress because it was considered historically significant. Author Mr Harris’s research reveals Huston arrived at the end of the Italian battle. However, military top brass provided him with hundreds of GIs to use as “extras” and unlimited access to vehicles and equipment. Mr Harris regards this as the “most convincingly faked” footage of a Second World War battle, because it used actual participants and locations although it was filming make-believe action days after the event."
FAKE NEWS • FAKE WAR • FAKE HISTORY • FAKE SCIENCE
Ronald Reagan Targets Tokyo
"One of the war's best-kept secrets was a film called "Target Tokyo," which Reagan narrated. It simulated an actual air raid on Japan. Special-effects men were flown to Washington for briefings on every known landmark--cemeteries, rice paddies, factories, geisha joints. The first fire-bomb target simulated was Ota, where Nakajima was mass-producing the deadly new fighter plane, Ki-84. From match sticks, piano wire, plaster and cheesecloth, the FMPU's model makers replicated the entire route to Ota. Above the 90-by-90-foot scale model swung a camera crane with a clever synchronous interlock drive designed by Sgt. Don Klopfel. Cotton clouds were added for further realism. Reagan's voice narrated: "You are now approaching the coast of Honshu, on a course of 300 degrees . . . to your left, if you are on course, you will see a narrow inlet. . . ." Rushed to Saipan, the film was chilling to see. "Uncannily accurate," the 21st Bomber Command reported. "It was as if a camera were mounted in the nose of a B-29 and had flown the entire mission beforehand." "
"Back in Hollywood, First Lieutenant Ronald Reagan was taking part in what he refers to in his autobiography as one of the major "secrets of war, ranking up with the atom bomb project": creating a complete miniature of Tokyo, so authentic in detail that even top Air Corps generals could not distinguish it from reality."
image source: https://en.wikipedia.org/wiki/Ronald_Reagan_filmography
FAKE NEWS • FAKE WAR • FAKE HISTORY • FAKE SCIENCE
Back in Hollywood, visual effects teams were toiling away...
"Meanwhile, scientists from corporations and universities constructed models of typical Japanese dwellings and urban residential neighborhoods to determine how to generate the most relentless firestorms."
1971: Motion Control Cameras and miniature towns can fool the eye.
FAKE NEWS • FAKE WAR • FAKE HISTORY • FAKE SCIENCE
Georges Méliès: Early Film Special Effects Pioneer
Georges Méliès • A Trip to the Moon (1902)
Georges Méliès: French Stage illusionist turned early film special effects pioneer.
Georges Méliès, the French illusionist and film director's film, "A Trip to the Moon" from 1902 was literally, the original Moon mission.
"Georges Méliès ...was a French illusionist and film director who led many technical and narrative developments in the earliest days of cinema. Méliès was an especially prolific innovator in the use of special effects, popularizing such techniques as substitution splices, multiple exposures, time-lapse photography, dissolves, and hand-painted color. He was also one of the first filmmakers to use storyboards. His films include A Trip to the Moon (1902) and The Impossible Voyage (1904), both involving strange, surreal journeys somewhat in the style of Jules Verne, and are considered among the most important early science fiction films, though their approach is closer to fantasy."
"After completing his education, Méliès joined his brothers in the family shoe business, where he learned how to sew. After three years of mandatory military service, his father sent him to London to work as a clerk for a family friend. While in London, he began to visit the Egyptian Hall, run by the London illusionist John Nevil Maskelyne, and he developed a lifelong passion for stage magic. Méliès returned to Paris in 1885 with a new desire: to study painting at the École des Beaux-Arts."
image source: https://kentmiklenda.com/film-art-design/
There is enough publicly available information to demonstrate how outer space is faked from the safety of green screen studio with realtime augmented reality technology.
The world has long been run as one business enterprise with national state borders and nation state identities being very important tools for human resource management on a world wide scale. All sorts of Platonic and exaggerated existential threats are promoted by propagandists who work towards growing more government and requiring us to pay for it all by way of our hard earned earnings that get sent off in the form of taxes that are supposed to be for defense spending and space exploration but end up in the coffers of green screen studio and augmented reality industry executives instead. All the feats of zero gravity we see on screens can be explained with old school in camera and post production Hollywood techniques, or even more recent live action, digital green screen, real time technological means. Or perhaps even a combination of the two. Even water and other fluids can be rendered in realtime with publicly acknowledged technology. Hands can be tracked in real time with nothing but computer lens and those hands can be used to manipulate virtual tools that look real when they appear in real time on screen. Even realtime CGI water can be made to appear to bend around hands with realtime video composited fidelity. There are plenty of old school Hollywood film techniques and new school digital techniques that demonstrate how the Zero gravity illusion is done. Stage magicians have been levitating ladies on stage for a long time and magicians and Hollywood have been using numerous forms of flight harnesses for decades. Wire work puppetry is nothing new.
Even the real time augmented reality effects are no longer new.
More about this subject, in the context of the International Space Station hoax, to come.
International Space Missions Are So Fake
Space the final frontier, these are the voyages of the indoctrinated human mind... to the ever promised land no human being shall ever actually see.
Why fake it?
Governments rely on us believing they have God like power to not only travel into the Heavens but to also use the same rocketry to annihilate the world many times over with atomic fire. We are minuscule relative to the size of the environment around us. All we have built is like an atom on the back of a flea. Even the tallest mountain is nothing compared to the size of the world. If we suppose the Earth to be a globe, and we were large enough to hold it, the highest peak and lowest point are as nothing and the world would seem like a perfectly smooth sphere. Human made rockets, no matter how large they might seem to be, are still too small relative to all the vast heliocentric model based, solar system distances to to make space travel even to nearby outer space, a logical concept.
The fuel requirements and the fact that Earth's gravity is supposed to extend out far past the Moon, things like air supply and all the rest of the devilish details, are very real problems that the NASA faithful flock must overlook with the recital of the officially sanctioned, ad hoc based, peer reviewed, catechism of cult crowd psychology. Even if we assume we need not worry about any of these things, and we also allow rockets to work in an "infinite" vacuum, we still have the same fundamental problem; orbits are fallaciously reasoned and ignore all demonstrable physics and even the size of Earth's supposed curvature. Outer space is not a real place anyone can demonstrate.
Outer space is an idea that needs to be embodied as art of some kind.
Science Fiction sold the public on a false future with outposts on the Moon and fake space stations orbiting high above the Earth.
Some 50 years after televised Moon walk, some 50 years of taxes spent on "Outer Space" and still none of us who foot the bill for it all can wait on a line to go. We can only interact with outer space by virtual means. We can only "visit" it in photographic form, or on a television or film screen. Outer space is an imaginary "place".
"A century before Apollo astronauts walked on the Moon, science fiction told the public of a future with outposts on the Moon and orbiting high above the Earth. In the decades that followed, these earliest space station concepts evolved into orbital platforms that could launch manned missions to the Moon and Mars. After its inception, NASA picked up where visionaries left off, dabbling in space stations of varying layouts and capabilities before building the International Space Station that orbits the Earth today."
WORLD WIDE CULTURE DEPROGRAMMING
Culture really does mean cult. We have all been born into a contrived world of human artifice not of our creating. We are indoctrinated to believe in things we really should not. And it all has to do with the fact that we are born into a world filled with a massive electrical multimedia mind numbing noise machine. We are born, like fish into water they do not see, into a world of electronic media that penetrates into our own ideas of ourselves. We naturally mimic what we see. We are surrounded by ubiquitous screens, radio broadcasts, official celebrity propaganda podcasts, advertising lies, news noise and so much more! Images and ideas are everywhere, embodied in billboard form that is now going full on electronic. Between smart phones, smart televisions, refrigerators with interactive smart screens and virtual and augmented goggles, there are more electronic messaging opportunities now than ever before and marketing firms and advertisers, and the mainstream media, understand what it is all for.
"Different Stages of Deprogramming"
"Deprogramming is transforming the pre-existing programming the survivor has in a way that remove any negativity, harm, ‘all the bad things’, or simply removing it all together. The long term goal of deprogramming is to allow the survivor to break free from the cult control and escape abuse and stay out. Sadly it’s not as simple as magically undoing programming. The programmers have a century of experience and vast amounts of knowledge on how multiple personalities work together. This knowledge is also concentrated in defensive systems, which work wonderfully in keeping people like us out! These systems are in place as a fail safe, so if the survivor does break free from the cult control or starts to recover memories of the abuse, these fail safes will activate. These are also known as programming defenses. Along with the internal aspects, the survivor must also face the external aspects such as immediate family, health services and other obstacles which make it difficult to overcome and leave the cult. This deprogramming section attempts to cover all of these aspects so the survivor can quickly learn what to deal with and the best way to deal with these obstacles."
"Leaving the cult is a process that could take a few months to a few years or more. Each survivor’s recovery is dependent on their work situations, family life and other involvements. Some are able to leave the cult and deprogram fine, without any problems afterwards. For others it will take a little bit longer and a little more work. The process of leaving the cult is mostly the same for all people trying to leave, so it should give an insight as to what people working with survivors leaving the cult, or survivors themselves will be expected to go through."
I WANT TO BELIEVE = I WANT TO BE LIED TO
"I want to believe." are the words every cunning charlatan and politician and religious snake oil film flam salesman want to hear. UFOs, by the way, are clearly part of the military industrial charade. This is subject of an article that will have to wait for another day. The point is this, all the technology we can actually interact with and all the science that makes sense indicates that flying magic electrical gravity defying machines that can float and fly about the world carrying human occupants or even alien life from far away, are all modern fairytales with no basis in reality as far as anyone can really demonstrate. All of this feeds into the mythology of outer space and the aerospace and defense industry that relies on our tax dollars to survive.
Deprogramming The Indoctrinated Cult Mind
image source: 1980S Tv GIFs - Find & Share on GIPHY
1. Milieu control:
For example: The media only focuses on what fits the agenda. Actual criticism of obvious fakery is ignored in favor of limited straw-man arguments that can be easily dismissed in the most sound bite efficient way by mike dropping court-like jesters, the officially sanctioned propagandists of modern secular cartoonish state religious faith.
“Milieu control” refers to a rigid structuring of the environment in which communication is regulated and access to information is strictly controlled. In my April, 1975 experiences at the Unification Church’s Barrytown seminary, there were no channels to outside information sources (e.g., television, radio, newspapers, etc.) and recruits were assigned to two “buddies” with the admonition that we were to ask them any and all questions."
2. Mystical Manipulation:
For example: Scripted Crisis Cast acting for events like Apollo 13 or Space Shuttle disasters, or even school shootings and terrorist events.
“Mystical manipulation” refers to the use of planned, or engineered, spontaneity; that is, thought reformers manipulate recruits in such a way as to make their behaviors appear spontaneous and internally-generated. In addition, cult institutions are given an aura of great mystery and divinity. In my experiences with the Unification Church (U.C.), for example, recruits were deliberately “love-bombed” and subjected to other forms of emotional intensity. They were kept awake long hours and food was devoid of protein and variety. The result was often a planned state of intense physiological arousal that was then ascribed to the recruit’s “spiritual nature” (i.e., predestination to be a Moonist)."
5. The Sacred Science:
For example: The Heliocentric based alchemical model has grown into quite the fine & contradictory, ad hoc patched, massive cancerous growth, has it not?
"The “sacred science.” Totalist systems proclaim their dogma to be the absolute, complete, and eternal truth, which in turn elevates the dogma to a sacred level. Any information that contradicts this absolute truth is therefore false by definition, and its source is misguided at best and an enemy at worst. Questioning the sacred doctrine is forbidden."
6. Loading The Language:
For example: Peer reviewed, university, government and mainstream media promoted, logically fallacious narratives and mathematical equations & obviously illogical & contradictory, gibberish explanations.
"Lifton (1961, p. 429) noted that “the language of the totalist environment is characterized by the thought-terminating cliché.” In Nineteen Eighty-four, Orwell (1954) foresaw the intimate connection between the manipulation of language and the control of thought. He described the gradual erosion of English into a hybrid language (“Newspeak”) devoid of variety, individual nuance and abstraction. In Orwell’s mythical totalistic state, the destruction of language would eventually, inevitably lead to the destruction of all free thought. Destructive cults typically evolve an elaborate and idiosyncratic terminology that is used to answer quickly and simplistically any doubts, and terminate any troublesome questioning. "
7. Doctrine Over Person:
Peer reviewed nonsense is logical if "everyone" agrees. "We" went to the Moon, even though none of us will ever actually get to go. Down can be defined as up, male as female, all by decree of some kind of crowd controlled, peer revered and reviewed process. "We" can do anything, as long as "We" all agree it is so. The real we will never accomplish what the marketed and fake "We" can. Virtual people trump real ones.
"As a corollary to the establishment of a “sacred science,” totalistic systems maintain that personal experience does not overrule the “facts” as explained by the doctrine. As a result, individual critical faculties, and even perception itself, are denied. As Lifton (1961, p. 431) explained: “the underlying assumption is that the doctrine – including its mythological elements – is ultimately more valid, true, and real than is any aspect of actual human character or human experience.” In my U.C. training, when a recruit began to fall asleep during a lecture, he was told that satanic “sleepy spirits” were pushing his eyelids shut, and that these spirits must be combated. The leader refused to accept the recruit’s suggestion that his drowsiness might be related to lack of sleep over the past several nights."
All quotes source: Intervention 101: cult intervention, cult mediation, and relationship ...
No real experiments could ever be conducted to show how Newtonian orbital mechanics are supposed to work.
The experiments that were supposed to have been done were those conducted during the space race of the mid 20th century and were the claimed launchings of satellites and men into space. These claims have always been supported with pictures and art and not with a true interactive experience with actual space travel. We do not get to wait on lines for rides on any kind of space vehicle, rocket or otherwise, almost 70 years after the mass public began to foot the bill for it all. Consider the Wright Brothers were supposed to have achieved flight in 1903, and by 1973 one could fly around the globe in passenger jet luxury. Space travel claims and feats of NASA like engineering have always been only supported by hearsay, gossip, myth, and highly edited video and film products of one kind or another. The only way any human being will ever visit outer space is virtually. Perhaps one day every brain will be implanted with silicon chips that will allow a NASA like spaced out existence to appear to be as real as the grass beneath our feet and then people will get to wait on lines, to finally catch a ride, (they think real) into the sky to take a vacation pilgrimage to a Hilton on the dark side of the Moon.
Popular peer pressured social conditioning can also get most of us to overlook the fact that there was really never any logical reason to believe anyone could actually travel to the Moon in the first place, nor was there really any logical reason to believe artificial orbits were an achievable feat. No experiments can ever be conducted here on Earth, in the real world, to show that any of these ideas are valid. These concepts are only supported by peer reviewed acceptance of fallaciously applied mathematical equation as "proof" that orbits are something that can actually be engineered in the real world. In fact nothing could be further absurd and founded in the realm of dream like speculative fantasy than the work of men like Copernicus, Kepler, Newton and company.
image source: Woman in the Moon/Girl in the Moon/By Rocket to the Moon (1929 Germany 108 mins)
"Woman in the moon was the first "serious" science fiction film."
"Launch sequence from Fritz Lang's underrated science fiction classic "Woman In The Moon" (Frau Im Mond) from 1929 (A.K.A. "rocket to the moon"). Featuring the talents of Willy Fritsch, Gerda Maurus,Fritz Rasp, and Klaus Pohl. It should be noted that during the third reich, which happened a few years after the movie was made, the Nazis had the models destroyed and the film withdrawn from release. They considered the rocket to be too close to reality. It was after all, designed by none other than Hermann Oberth, one of the fathers of rocketry and astronautics, who was also Wernher Von Braun's teacher, boss and collaborator. A lot of contemporary science went into the making of Woman In The Moon. It shows the very first ever countdown to launch of a rocket. An idea invented as a dramatic device for the movie, but later adopted in real life. Also depicted for the first time are the use of liquid rocket fuel, a rocket with two stages, and zero gravity in space. Of course, there were also bad calls, like the submerged launch and the moon atmosphere."
Visual Effects 1929 "Woman in The Moon"
Old school photographic darkroom "two dimensional" animation techniques are the foundation for ubiquitous software tools children can use.
Fritz Lang's Woman In The Moon
"It should be noted that during the third reich, which happened a few years after the movie was made, the Nazis had the models destroyed and the film withdrawn from release. They considered the rocket to be too close to reality. It was after all, designed by none other than Hermann Oberth, one of the fathers of rocketry and astronautics, who was also Wernher Von Braun's teacher, boss and collaborator. A lot of contemporary science went into the making of Woman In The Moon. "
Most people tend to buy into propaganda myth without critical thought, as we have all been conditioned by the massive multimedia machine, government, religious institution and educational system to do so.
FAKE NEWS • FAKE WAR • FAKE HISTORY • FAKE SCIENCE
The image below is as fake as anything we can watch in the Georges Méliès' 1902 film, "A Trip To The Moon".
The image below is from some forty years later. Does it not make sense that film fakery and special effects would have advanced in that amount of time?
It seems pretty clear that the better special effects of the mid 20th century were reserved for governmental propaganda purposes. The fakery seems obvious by today's computer enhanced, high end standards. The V2 rocket footage is impressive World War Two era film illusion and nothing more. The V2 rocket footage is from some 15 or so years after the Fritz Lang "Woman in the Moon" film was produced.
"Rocket scientists" Hermann Oberth and Wernher von Braun were both supposed to have worked on the Fritz Lang film and both would end up working for NASA.
Get the joke?
NASA and the rest of the international outer space programs are special effects, propaganda studios.
Visual Effects: 1945
image source: Nazi V2 missile hoax
"Operation Paperclip was a secret program of the Joint Intelligence Objectives Agency(JIOA) in which more than 1,600 German scientists, engineers, and technicians, such as Wernher von Braun and his V-2 rocket team, were recruited in post-Nazi Germany and taken to the U.S. for government employment, primarily between 1945 and 1959; many were former members and some were former leaders of the Nazi Party. The primary purpose for Operation Paperclip was U.S. military advantage in the Russo–American Cold War, and the Space Race. The Soviet Union were more aggressive in forcibly recruiting (at gunpoint) some 2,000 German scientists with Operation Osoaviakhim during one night."
NAZI ... oops .. NASA SPACE STATION
"Man Will Conquer Space Soon,"
"The October 1951 Symposium on Space Travel, held at the Hayden Planetarium in New York City, brought von Braun's ferry rocket to the attention of Collier's editors. In their 22 March 1952 issue, they published "Man Will Conquer Space Soon," a colorful 28-page overview of the Hayden symposium. A description of Von Braun's ferry rocket, tailored to educate and excite the man in the street, filled nine of those pages; articles on von Braun's proposed wheel-shaped space station and problems of space medicine and space law rounded out the special section."
"The first stage alone would thus have weighed almost twice as much as the three-stage Saturn V rocket configured for Apollo lunar missions, which at about 3000 metric tons remains the largest, heaviest rocket ever built."
"The ferry rocket took three main forms. The first, which von Braun designed in 1948 while interned by the U.S. Army with other Operation: Paperclip Germans in the New Mexico desert, was relatively stubby. It is not pictured here. As described in Von Braun's The Mars Project, published first in 1952 in a German spaceflight journal and in the U.S. the following year as a slim book, the ferry rocket's first stage, with broad stabilizing fins, would have taken the form of a drum 20 meters in diameter and 29 meters tall with a dry weight of 700 metric tons and a propellant load of 4800 metric tons. The first stage alone would thus have weighed almost twice as much as the three-stage Saturn V rocket configured for Apollo lunar missions, which at about 3000 metric tons remains the largest, heaviest rocket ever built. The second and third stages would have brought the ferry rocket's total weight at liftoff to a whopping 6400 metric tons, of which propellants would have accounted for 5583 metric tons."
THE FIRST SPACE STATION
The Brick Moon: The First Communications Satellite
" "The Brick Moon" is presented as a journal. It describes the construction and launch into orbit of a sphere, 200 feet in diameter, built of bricks. The device is intended as a navigational aid, but is accidentally launched with people aboard. They survive, and so the story also provides the first known fictional description of a space station."
" "The Brick Moon" is a short story by American writer Edward Everett Hale..."
"...published serially in The Atlantic Monthlystarting in 1869. It is a work of speculative fiction containing the first known depiction of an artificial satellite."
quotes and image source: The Brick Moon - Wikipedia
"A Brief History of Space Stations before the ISS"
"Between October 1869 and February of 1870, readers of the Atlantic Monthly were introduced to the idea of living off the Earth through Edward Everett Hale’s science fiction story, "The Brick Moon.” Hale’s story tells of a 200-foot diameter brick sphere designed to orbit the Earth as a navigational aid for ships. But the brick moon is accidentally put into orbit with people on board. Halle followed this story with a sequel, ‘Life in the Brick Moon,’ wherein the characters find ways to survive in their new home. Not only do they live in the artificial satellite, they communicate with the Earth turning the brick moon into a communications satellite."
"The term “space station” was coined more than fifty years later by Romanian rocket pioneer Hermann Oberth. Writing in 1923, he envisioned a platform orbiting the Earth that would serve as a starting point for missions to the Moon and Mars. His idea was shared by Austrian Herman Noordung who, in 1928, published a blue print for an orbital outpost composed of multiple modules each with its own unique function. Both Oberth and Noordung imagined their space stations would be launched by massive rockets, and an ocean away American engineer Robert Goddard was taking major strides towards developing these rockets. Goddard was among the first to experiment successfully with liquid propulsion, harnessing a reaction far more powerful than the black powder rockets that were prevalent at the time. And he wasn’t the only one. In Germany, an amateur rocket group called the Verein für Raumschiffahrt (Society for Space Travel) was also having moderate success with liquid propelled rocket. In 1932, one member of the VfR, Wernher von Braun, was handpicked by the German Army to continue his work, developing liquid rockets for the military."
"Military funding from the Reich before and during the Second World War brought rocketry to maturity, and by the war’s end von Braun’s team had a functioning rocket on their hands with the V-2. The technology was picked up by both American and Soviet scientists, but the bulk of leftover hardware and key team members migrated to the United States in 1945, including von Braun who added "spaceflight popularizer” to his resume before long. Through collaborations with Collier’s Magazine and Walt Disney on the Tomorrowland TV series, von Braun brought his vision of a wheel-shaped space station to the public. This orbital platform would be an Earth observation post, a microgravity laboratory, as well as an observatory. It would also be a starting point for missions to the Moon and Mars, serving as a cornerstone in man’s exploration of the inner solar system."
SPACE STATIONS ARE FANTASY
1975: Space Station Nerva
image source: BBC Doctor Who • https://en.wikipedia.org/wiki/Revenge_of_the_Cybermen • https://en.wikipedia.org/wiki/The_Ark_in_Space
Mass Produced Pulp Magazine Product Would Help Promote Imaginative Spaced Out Concepts
image source: source:176 best SciFi - Space Stations images on Pinterest | Space ...
FAKE NEWS • FAKE WAR • FAKE HISTORY • FAKE SCIENCE
"Space Stations for the New Space Agency "
"These futuristic space station concepts started inching towards reality in 1958. NASA was created to manage all spaceflight programs with the overarching goal of getting an astronaut in space before the Soviet Union lunched a cosmonaut. Anticipating putting the first man in space, NASA was already considering a space station as its second program in 1959, something that would help the agency learn to live and work in space before serving as a jumping off point for manned missions to the Moon. But Yuri Gagarin beat an American astronaut into orbit, derailing NASA’s long-range plan. President John Kennedy considered all possible next steps for America in space and determined that a mission to the Moon would be a better show of technological dominance than a space station. NASA was laser focused on the Moon landing goal throughout the 1960s, but the a space station was never truly off the drawing board. Spurred on by Apollo’s high funding level and the growing national interest in spaceflight, an orbital outpost was again seriously considered in 1964 NASA’s main post-Apollo program. Four years later, it was officially on the books. In 1969, NASA proposed a 100-man space station called Space Base. The idea was to build a platform that would serve as a laboratory for scientific and industry-sponsored microgravity experiments as well as a home port for nuclear-powered space tugs to ferry astronauts to and from an outpost on the Moon. Scheduled for orbital assembly to be completed by 1975, it didn’t take NASA long to realize that the cost of using expendable rockets (like the Saturn family that launched Apollo to the Moon) to both build and supply Space Base would exceed the construction cost of the station. The only way the project wouldn’t be a loss for NASA would be to build and supply it with a reusable vehicle, a sort of shuttle to ferry supplies and astronauts to Space Base over multiple missions. This became the Space Transportation System, more colloquially known as the space shuttle. But a space shuttle was in the future. For the moment, NASA had an excess Apollo hardware from three cancelled lunar missions and opted to turn it into a short-term space station program called Skylab. The station itself was made form a repurposed S-IVB upper stage and launched on the last Saturn V in May of 1973. In the year that followed, Skylab hosted three crews, ultimately proving that humans can not only live and work in space, they can be instrumental in large-scale orbital construction efforts as well. The first Skylab crew performed emergency spacewalks to successfully free a jammed solar array, effectively saving the station. Skylab was never intended to be a long-term space station; it wasn’t designed to be resupplied, refuelled, or boosted into a higher orbit. After the last crew left in February of 1974, the station was abandoned and its orbit was left to decay. NASA briefly considered using a space shuttle orbiter to boost it into a higher orbit and revisit the station, but increased solar activity had expanded the Earth’s atmosphere, the fringes of which were dragging on the station more than expected. NASA simply couldn't have a shuttle ready in time. Skylab reentered the Earth’s atmosphere over western Australia in July of 1979."
"The Beginnings of a Real Space Station"
"As the Skylab program unfolded, NASA forged ahead with the reusable space shuttle that would facilitate building and maintaining a long-lasting space station. But the project as initially conceived by the agency proved too ambitious for its shrinking post-Apollo budget. The economic, political, social, and cultural landscape in the early 1970s wasn’t conducive to another program on the same scale as Apollo. The agency was forced to choose between an orbital outpost or a the vehicle needed to build it. The latter won, and the space station was put on hold while NASA developed its space shuttle. With the station’s future uncertain, NASA began exploring the potential of working with international partners to defray its cost. In 1973, the United States and Europe formally entered into a partnership that would see the European Space Agency supply mini laboratory modules called Spacelabs to NASA. These small units were designed to launch in the shuttle’s massive payload bay and serve as experiment facility for up to three weeks in orbit, a proof of concept for a later station. The first Spacelab reached orbit in 1983 as part of the payload of STS-9."
"From Dream to Reality"
"In his State of the Union Address on January 25, 1984, President Ronald Reagan called for NASA to collaborate with international partners to build a space station within a decade. It was the political backing the space station program desperately needed. With congressional support and a formal presidential mandate in place, the agency established the Space Station Program Office in April and issued requests for proposals to industry leaders that fall. Two years later, Japan and Europe signed on to contribute modules and Canada agreed to supply a manipulator arm. The station was emerging from these early design stages with a dual keel arrangement with a central truss to hold the main living and working quarters as well as solar arrays. But setbacks seemed to trump every step forward. One problem was the steadily rising cost. NASA’s original projection of $8 billion for three separate facilities — the main living space and two automated laboratory platforms — proved ambitiously low. The Challenger disaster also took its toll on the space station. The loss of seven astronauts raised safety concerns that ended with the decision to give astronauts on board the space station some escape system. This forced design changes that in turn increased the station’s weight. The solution was to replace the dual keel arrangement with a single truss design and to make the laboratory modules smaller overall. This new design was finalized in 1987. In 1988, Reagan gave the station a name: Freedom."
"Bush Puts NASA on a Path to Mars."
"In July of 1989, just six months after taking office, President George Bush attempted to have his own “Kennedy moment.” In a speech commemorating the 20th anniversary of Apollo 11 mission, he called for the United States to return men to the Moon and send astronauts on to Mars within three decades. And he endorsed space station Freedom as the cornerstone of this long-range effort. The plan was, roughly, a tripartite one. Immediately in the 1990s construction of space station Freedom was to be NASA’s main endeavour. Lunar missions were slated to resume in the early 21st century with the establishment of a lunar base for long term exploration. These two steps would lay the groundwork for a manned mission to Mars as early as the late 2010s. The ultimate goal was a permanent outpost on the red planet. Bush’s call for a Mars landing yielded a 90-day study to solidify the program’s prospective timeline, goals, and cost. The idea was for Freedom to evolve alongside the effort to land men on Mars. It would serve as an orbital test bed where NASA would iron out the technologies needed to support long-duration deep space missions, and with crews staying on board for up to six months at a time it would be a way for the agency to learn about human survival in space in the relative safety of low Earth orbit. The subsequent phase of lunar missions would rely heavily on Freedom. The crew, vehicles, and supplies would launch to the space station where they would load into a transfer vehicle. That transfer vehicle would then travel to low lunar orbit where it would meet an excursion vehicle that would either be waiting in a parking orbit or would launch from the surface to meet the arriving spacecraft. The excursion module would then take the crew to the lunar surface while the transfer vehicle would return to Freedom for maintenance and resupply. The crew could stay on the Moon for as long as a year, serviced by that same transfer vehicle ferrying between Freedom and the Moon. A similar arrangement was planned for missions to Mars."
"From Freedom to ISS"
"As the 1990s dawned, Freedom was getting increasingly heavy and complicated with new requirements like the provision for spacewalks to support in-orbit assembly. Freedom’s cost rose to $38.3 billion, a figure that now included the shuttle launches but was still a far cry from the original $8 billion estimate. In 1993, President Bill Clinton called for the station to be redesigned once again in an attempt to lower the cost and bring in more international partners. Three redesigned station were put forth, and the proposal called Alpha was chosen by the White House. Alpha used 75 percent of the hardware from Freedom, and before long Russia offered pieces of its unflown Mir 2 space station to lower the overall cost. This new station developed as one that promised to be far more capable than Freedom. In the course of the redefinition process, Alpha took on the moniker “International Space Station.” NASA’s Johnson Space Centre became lead centre behind the program, and Boeing signed on as prime contractor. The ISS program kicked off with the Shuttle-Mir program, the first cooperation between the United States and Russia since 1975’s Apollo-Soyuz Test Project. In February of 1994, cosmonaut Sergei Krikalev became the first Russian astronaut to fly on a shuttle with the STS-60 crew. A year later, the orbiter Discovery rendezvoused with Mir during the STS-63 mission. In March of 1995, U.S. astronaut Dr. Norman Thagard launched with two cosmonauts aboard Soyuz-TM 21 for a three month stay on Mir. At the end of the mission, the orbiter Atlantis docked with Mir to collect the crew and bring them home. In November of 1995, the orbiter Atlantis launched on STS-74 and delivered a Russian-built Docking Module to Mir marking the first time a module was added to a working space station in orbit. These shuttle-Mir missions gave NASA astronauts their first exposure to long-duration spaceflight since Skylab and also taught both nations valuable lessons in working together and building a multi-module station in space. The ISS began taking shape in earnest in 1998. On November 20, the Zarya Control Module launched on a Russian Proton rocket. It was the first piece of the station, the battery power and fuel storage unit onto which later modules were added. The Unity node followed in December, and in May of 1999 the shuttle orbiter Discovery fitted the station with logistics and stocked it full of supplies. Four assembly missions in May, July, September, and October of 2000 saw addition of the Zvezda Service Module as well as installation of the Z1-Truss, a third pressurized mating adapter, and a Ku-band antenna. These missions also delivered supplies and performed maintenance on the Station. It was finally ready for a human crew. On October 30, 2000, Expedition 1 launched on a Soyuz rocket and docked with the International Space Station. The crew of Yuri P. Gidzenko, William M. Shepherd, and Sergei K. Krikalev became the first to live and work on board the orbiting outpost. Another thirty-two assembly missions completed the ISS, bringing the dream of a space station to life nearly a century and a half after Hale’s story captured imaginations."
FAKE NEWS • FAKE WAR • FAKE HISTORY • FAKE SCIENCE
Sir Arthur C. Clarke and Dr Wernher Von Braun
Arthur C. Clarke: Outer Space Propagandist
"Clarke contributed to the popularity of the idea that geostationary satellites would be ideal telecommunications relays. He first described this in a letter to the editor of Wireless World in February 1945 and elaborated on the concept in a paper titled Extra-Terrestrial Relays – Can Rocket Stations Give Worldwide Radio Coverage?, published in Wireless World in October 1945. The geostationary orbit is now sometimes known as the Clarke Orbit or the Clarke Belt in his honour. It is not clear that this article was actually the inspiration for the modern telecommunications satellite. According to John R. Pierce, of Bell Labs, who was involved in the Echo satellite and Telstar projects, he gave a talk upon the subject in 1954 (published in 1955), using ideas that were "in the air", but was not aware of Clarke's article at the time. In an interview given shortly before his death, Clarke was asked whether he had ever suspected that one day communications satellites would become so important; he replied: "I'm often asked why I didn't try to patent the idea of a communications satellites. My answer is always, 'A patent is really a license to be sued.' " Though different from Clarke's idea of telecom relay, the idea of communicating via satellites in geostationary orbit itself had been described earlier. For example, the concept of geostationary satellites was described in Hermann Oberth's 1923 book Die Rakete zu den Planetenräumen (The Rocket into Interplanetary Space), and then the idea of radio communication by means of those satellites in Herman Potočnik's (written under the pseudonym Hermann Noordung) 1928 book Das Problem der Befahrung des Weltraums – der Raketen-Motor (The Problem of Space Travel — The Rocket Motor), sections: Providing for Long Distance Communications and Safety,[b] and (possibly referring to the idea of relaying messages via satellite, but not that 3 would be optimal) Observing and Researching the Earth's Surface, published in Berlin. Clarke acknowledged the earlier concept in his book Profiles of the Future."
If Outer Space is fake, what about communication satellites?
They were never needed and are part of the historical, international, hoax. Orbiting space satellites are not real.
"In radio communication, skywave or skip refers to the propagation of radio waves reflected or refracted back toward Earth from the ionosphere, an electrically charged layer of the upper atmosphere. Since it is not limited by the curvature of the Earth, skywave propagation can be used to communicate beyond the horizon, at intercontinental distances. It is mostly used in the shortwave frequency bands. Amateur radio operators are credited with the discovery of skywave propagation on the shortwave bands. Early long-distance services used surface wave propagation at very low frequencies, which are attenuated along the path. Longer distances and higher frequencies using this method meant more signal attenuation. This, and the difficulties of generating and detecting higher frequencies, made discovery of shortwave propagation difficult for commercial services.Radio amateurs conducted the first successful transatlantic tests in December 1921, operating in the 200 meter mediumwave band (1500 kHz)—the shortest wavelength then available to amateurs. In 1922 hundreds of North American amateurs were heard in Europe at 200 meters and at least 30 North American amateurs heard amateur signals from Europe."
"The first two-way communications between North American and Hawaiian amateurs began in 1922 at 200 meters. Although operation on wavelengths shorter than 200 meters was technically illegal (but tolerated as the authorities mistakenly believed at first that such frequencies were useless for commercial or military use), amateurs began to experiment with those wavelengths using newly available vacuum tubes shortly after World War I."
Before World Wide Web: Shortwave Radio
"The practice of long-distance radio listening began in the 1920s when shortwave broadcasters were first established in the US and Europe. Audiences discovered that international programming was available on the shortwave bands of many consumer radio receivers, and a number of magazines and listener clubs catering to the practice arose as a result. Shortwave listening was especially popular during times of international conflict such as World War II, the Korean War and the Persian Gulf War. Listeners use inexpensive portable world band receivers to access the shortwave bands, and some advanced hobbyists employ specialized shortwave communications receivers featuring digital technology designed for optimum reception of shortwave signals, along with outdoor antennas to enhance performance. With the advent of the internet, many international broadcasters have scaled back or terminated their shortwave transmissions in favor of web-based program distribution, while others are moving from traditional analog to digital broadcasting modes in order to allow more efficient delivery of shortwave programming. The number of organized shortwave listening clubs has diminished along with printed magazines devoted to the hobby; however, many enthusiasts continue to exchange information and news on the web."
British BBC Television signal received in New York City in 1938
"The four-minute compilation from 1938 exists only because of a technological fluke and the enthusiasm of two television buffs, one in Britain and the other in America where, thanks to freak atmospheric conditions, it was picked up and recorded on a cine camera placed in front of a television screen as the images came in."
"Due to freak atmospheric conditions, a BBC TV broadcast is received in New York City. A film camera is used to record the silent images which included the performance of a play, a cartoon, and other matter. A four-minute excerpt from this filmed recording survives and is ..."
Click here for more: Artificial Satellites Do Not Exist Part One: The Telstar Hoax — A Proper ...
"Skywave propagation, also referred to as skip, is any of the modes that rely on reflection (actually refraction) of radio waves from the ionosphere. The ionosphere is a region of the atmosphere from about 60 km (37 mi) to 500 km (310 mi) that contains layers of charged particles (ions) which can refract a radio wave back toward the Earth. A radio wave directed at an angle into the sky can be reflected back to Earth beyond the horizon by these layers, allowing long distance radio transmission. The F2 layer is the most important ionospheric layer for long-distance, multiple-hop HF propagation, though F1, E, and D-layers also play significant roles."
Satellites are ideas that can only exist as art.
The world we actually experience and witness would seem best described in language we would term electrochemical. This section of this article is meant to be a summary of this subject matter and is not meant to be an exhaustive look at how satellite signals are propagated without impossibly orbiting artifice. The idea that atmospheric weather conditions would permit a television signal to reach New York from London is a more reasonable explanation than impossible orbital fantasy. At the distance of 22,300 miles away, one would think a satellite would be useless for anything as the inverse square "law" for radiation seems to represent demonstrable reality. When we consider supposed radiation belts and other supposed electrically active layers of upper Earth atmosphere and we consider how radio and radio interference works, we can see why the distance put forth for communication makes no sense even if such an impossibly far orbit could ever be achieved in the first place. If mass electronic communications needs some kind of stationary floating antenna or similar signal boosting sky service, a tethered high altitude helium balloon of some kind would make sense. Even mobile dirigible based signal boosting technology makes sense. Orbiting satellites do not. The world has long been connected with undersea cables and there are supposed to be undersea fiberoptic cable in use today. Cell towers and wi fi base stations and other sorts of wireless connectivity is more ubiquitous today than at any other moment in history. All of this communications technology was developed by government as a direct result of Cold War era tax funding. Walkie talkies and CB radios, short wave ham radio are old forms of publicly available electronic communications technology that most of us take for granted today as we stare into our incorrectly labeled "smart" screens. The same radio technology is all over the place now. It is now sending out radio signals that are of morse code like character rather than the bandwidth hogging old school analog broadcast signal. Digital technology allows for the modern age of mass communication. Analog signals would hog all the bandwidth and would not allow for the easy access to endless streams of multimedia. Digital signal also means that natural and artificial radio interference will be less likely to disrupt the viewing experience.
At 22,300 miles away these machines would seem to ignore inverse square law and all background radio interference.
image source: https://en.wikipedia.org/wiki/Inverse-square_law
Earth bound broadcast antenna electrically stimulate the ionized gases of the upper atmosphere.
The broadcast antenna supplies all the ground based electrical power. The small receiving satellite dish is plugged into a wall outlet. Satellites are not needed and at some 22,300 miles distance, would be too far away to be of use to relay any kind of radio signal. The distance and intervening interference would make such a feat impossible.
image source: http://www.cybercollege.com/tvp065.htm
Antenna Arrays Are For Communications
It seems to me something like HAARP is more than likely related to using the ionized regions of the upper atmosphere for communications. HAARP might ensure that seasonal atmospheric weather conditions and other sources of interference do not effect the dish based communication technology. Of course this is a guess on my part, hopefully it is an educated one. The worse I could be is wrong of course, and that itself is no big deal. In any case, from what I understand from the research I have done into the history of radio technology is that antenna arrays are used for communication. Whether or not such electrified arrays could be used to stimulate weather, is something that is speculative and interesting, but not something we have any evidence for. We have nothing to really examine by way of tangible technology. All we can do is discuss ideas and theories and wonder what super secret technology government could be hiding. I tend to think in more down to earth terms and do not buy into the governmental and mass media promoted mythology of the governments of the world possessing all sorts of God like power. I am very skeptical of claims like those of governmental weather control projects.
A huge antenna array could be used to electrically excite the ionized gases of the upper atmosphere, making dish based ionosphere type communication work in a consistent and reproducible manner necessary for commercializing the technology. Nobody wants unreliable television service, after all. Digital compression and the avoidance of analog based communication means that we can have "unlimited" streams of all kinds of data bounced around the world. Received dish based frequencies are not much higher than UHF signals. The range is 3.625–4.200 GHz for C band, dish based television signal frequency, and the UHF frequency range is 300 MHz to 3 GHz. What makes more sense to you? An explanation along these lines or one that requires impossible orbits, impossible speeds and a seemingly impossible distance of 22,300 miles that ignores the inverse square law of radiation?
Satellite transmission, like any other type of radio or television broadcast, requires a transmitter antenna, in this case a huge dish shaped one, and this is where the real electrical power is. The industrial sized dish sends out a high powered and higher frequency signal, the smaller consumer level receiving dish receives a lower frequency signal. A signal just a bit higher than the high end range of the UHF frequency.
"The most prominent instrument at HAARP is the Ionospheric Research Instrument (IRI), a high-power radio frequency transmitter facility operating in the high frequency (HF) band. The IRI is used to temporarily excite a limited area of the ionosphere. Other instruments, such as a VHF and a UHF radar, a fluxgate magnetometer, a digisonde (an ionospheric sounding device), and an induction magnetometer, are used to study the physical processes that occur in the excited region."
"Very high frequency (VHF) is the ITU designation for the range of radio frequency electromagnetic waves (radio waves) from 30 to 300 megahertz (MHz), with corresponding wavelengths of ten to one meters. Frequencies immediately below VHF are denoted high frequency (HF), and the next higher frequencies are known as ultra high frequency (UHF). Common uses for VHF are FM radio broadcasting, television broadcasting, two way land mobile radio systems(emergency, business, private use and military), long range data communication up to several tens of kilometers with radio modems, amateur radio, and marine communications. Air traffic control communications and air navigation systems (e.g. VOR & ILS) work at distances of 100 kilometers or more to aircraft at cruising altitude. In North America, most of South America and many other parts of the world, VHF Band I was used for the transmission of analog television. As part of the worldwide transition to digital television most countries require broadcasters to transmit television in the VHF range using digital rather than analog format."
"The U.S. FCC allocated television broadcasting to a channelized roster as early as 1938 with 19 channels. That changed 3 more times: in 1940 when Channel 19 was deleted and several channels changed frequencies, then in 1946 with television going from 18 to 13 channels with different frequencies again, and finally in 1948 with the removal of Channel 1 (channels 2-13 remain as they are today)."
Impossibly orbiting, unnecessary satellites with relatively low voltage batteries, are not real. Satellites would be too far away and subject to too much radio background noise to be of use anyway.
Just because everyone insists satellites are real does not make it so. There is a history of using the ionized gases of the upper atmosphere for communications long before Arthur C. Clarke took pen to paper in 1945 and suggested the horrific weapon of terror, the V2 rocket, could be used to catapult communications satellites into orbit. He fails to inform his readers about the history of shortwave radio communication or the 1938 BBC broadcast that was supposed to have been received in New York City in 1938. Ground based antenna of varying design serve different purposes. Satellite broadcast would really be ionospheric style radio wave propagation. The world would seem to be surrounded by electrically active layer of atmosphere or a plasma, which might explain the primary lights like the Sun and Moon and the rest of the menagerie celestial cast. The world as we understand it, the Universe we actually witness and experience would seem to be best described in what we would call electrochemical terms. This is what the evidence we can actually interact with and examine, and which parts of the historical and technical record that make sense and at least seem to provide reasonable explanation for satellite communication that does not involve Pavlovian conditioned and peer reviewed, crowd psychologically sourced, acceptance.
"An antenna array (or array antenna) is a set of multiple connected antennas which work together as a single antenna, to transmit or receive radio waves. The individual antennas (often called elements) are connected to a single receiver or transmitter by feedlines that feed the power to the elements in a specific phaserelationship. The radio waves radiated by each individual antenna combine and superpose, adding together (interfering constructively) to enhance the power radiated in desired directions, and cancelling (interfering destructively) to reduce the power radiated in other directions. Similarly, when used for receiving, the separate radio frequency currents from the individual antennas combine in the receiver with the correct phase relationship to enhance signals received from the desired directions and cancel signals from undesired directions."
image and quote source: https://en.wikipedia.org/wiki/Antenna_array
"Early systems used analog signals, but modern ones use digital signals which allow transmission of the modern television standard high-definition television..."
"Satellite television is a service that delivers television programming to viewers by relaying it from a communications satellite orbiting the Earth directly to the viewer's location.The signals are received via an outdoor parabolic antenna commonly referred to as a satellite dish and a low-noise block downconverter."
"A satellite receiver then decodes the desired television programme for viewing on a television set. Receivers can be external set-top boxes, or a built-in television tuner. Satellite television provides a wide range of channels and services. It is usually the only television available in many remote geographic areas without terrestrial television or cable television service. Modern systems signals are relayed from a communications satellite on the Ku band frequencies (12–18 GHz) requiring only a small dish less than a meter in diameter. The first satellite TV systems were an obsolete type now known as television receive-only. These systems received weaker analog signals transmitted in the C-band (4–8 GHz) from FSS type satellites, requiring the use of large 2–3-meter dishes. Consequently, these systems were nicknamed "big dish" systems, and were more expensive and less popular. Early systems used analog signals, but modern ones use digital signals which allow transmission of the modern television standard high-definition television, due to the significantly improved spectral efficiency of digital broadcasting."
"Satellite television, like other communications relayed by satellite, starts with a transmitting antenna located at an uplink facility."
"Uplink satellite dishes are very large, as much as 9 to 12 meters (30 to 40 feet) in diameter. The increased diameter results in more accurate aiming and increased signal strength at the satellite."
"The uplink dish is pointed toward a specific satellite and the uplinked signals are transmitted within a specific frequency range, so as to be received by one of the transponders tuned to that frequency range aboard that satellite."
image source: http://www.theskyscrapers.org/meteor-showers
METEORS ARE NOT MAGIC SPACE ROCKS
Meteors were once supposed to have once been considered to be atmospheric phenomena like lightning bolts and other forms of natural atmospheric electricity. Ben Franklin famously and dangerously flew a kite to lure a lightning strike. Seems to me that helium filled balloon or similar floating tool, could have been used for over a century to measure the electrical nature of the upper regions of Earth atmosphere.
"Meteor Scattering" is an interesting phenomena to consider in the context of a geocentric electrical model of our world. Electrochemical terms might be the best language we have to use to describe how we can model the world we actually do experience, not the one we have been misled by centuries of propaganda to dream about.
Meteor means "any atmospheric phenomenon"
"late 15c., "any atmospheric phenomenon," from Middle French meteore (13c.) and directly from Medieval Latin meteorum (nominative meteora), from Greek ta meteora "the celestial phenomena, things in heaven above," plural of meteoron, literally "thing high up," noun use of neuter of meteoros(adj.) "high up, raised from the ground, hanging," from meta "by means of" (see meta-) + -aoros"lifted, hovering in air," related to aeirein "to raise" (from PIE root *wer- (1) "to raise, lift, hold suspended"). Specific sense of "fireball, shooting star" is attested from 1590s. Atmospheric phenomena were formerly classified as aerial meteors (wind), aqueous meteors (rain, snow, hail), luminous meteors(aurora, rainbows), and igneous meteors (lightning, shooting stars)."
"Meteor scattering relies on reflecting radio waves off the intensely ionized columns of air generated by meteors. While this mode is very short duration, often only from a fraction of second to couple of seconds per event, digital Meteor burst communications allows remote stations to communicate to a station that may be hundreds of miles up to over 1,000 miles (1,600 km) away, without the expense required for a satellite link. This mode is most generally useful on VHF frequencies between 30 and 250 MHz."
Some Perspective: Size & Scale Matter
Communication Satellites Are Imagined To Be Some 22,236 Miles Away
This itself is an incredible distance and one that pales in comparison to the imagined distance between the Earth and the Moon.
"A geostationary equatorial orbit (GEO) is a circular geosynchronous orbit in the plane of the Earth's equator with a radius of approximately 42,164 km (26,199 mi) (measured from the center of the Earth). A satellite in such an orbit is at an altitude of approximately 35,786 km (22,236 mi) above mean sea level."
source: Geosynchronous orbit - Wikipedia
Single Digit Miles vs Hundreds of Miles
International Passenger Jet meets International Space Station
We would never really expect to see the International Space Station with even telescope help, were the football sized fantasy a real world thing in impossible orbit. It would be too far away at some 248 miles or so. A high flying passenger jet is many times closer and we can barely see that with naked eye when we look up in the sky. Between the demonstrable reality represented by inverse square law, and the hundreds of miles distance as well as real world dust, moisture and atmosphere that all act to diminish contrast and to otherwise reduce the range of visual information available to eye or telescope lens, we can see why we should expect to see nothing. The dust and moisture in the atmosphere would physically act to block the far off and weakened light from ever reaching camera or telescope lens or human eye. Whatever the light in the sky that is supposed to be an orbiting thing is, it has to be something either of natural origin like the rest of the celestial, primary, natural lights in the sky, or some type of high flying aircraft. We know what the light cannot be. It cannot be an impossibly orbiting physical body.
SEE THE LIGHT
Passenger jets that fly something like seven miles up in the sky lack the contrast and lack detail due to atmosphere. The passenger jet that flies overhead, starts to become as blue as the rest of the sky.
We would not logically expect to be able to see satellites from the surface of the Earth. It would be physically impossible. The distances are too great, (even 250 or so miles) and the objects are relatively way too small. The intervening atmosphere with all the moisture and dust that it contains would also act as noise that would block the light rays from ever reaching any of our eyes here on Earth. If you have seen a light in the sky flying by overhead, it was either some kind of natural occurrence (perhaps electrochemical in nature) that nobody can quite explain, and perhaps never will, or it is some kind of conventional aircraft, perhaps even some kind of dirigible. Astronomy and astrology have both long been used to get people to look up at the sky and to become distracted with abstract and unverifiable fantasy over the reality right under their noses. Mapping the positions of stars and constellations is important for navigating the globe. The rest of it is simply superstitious nonsense. NASA and the rest of the international space programs are nothing but religious institutions that make us of modern artistry to craft religious relics in the form of mass produced electronic based media product.
"Aerial perspective or atmospheric perspective refers to the effect the atmosphere has on the appearance of an object as it is viewed from a distance. As the distance between an object and a viewer increases, the contrast between the object and its background decreases, and the contrast of any markings or details within the object also decreases. The colours of the object also become less saturated and shift towards the background colour, which is usually blue, but under some conditions may be some other colour (for example, at sunrise or sunset distant colours may shift towards red)."
High Altitude Passenger Jets: 3 to 7 Miles off the ground, depending on source.
"A typical commercial jet (most standard flights) cruises at around 28-35,000ft (up to 6.6 miles of altitude). The main exception is Concorde which was designed to fly at a higher altitude (and hence lower wind resistance) at around 45,000ft."
Imagined International Space Station: 250 miles off the ground, by comparison.
We would not logically expect to be able to see the imagined space station, even if it were possible to put a physical body of that size into impossible orbit. Even with telescopic enhancement, over two hundred miles is a far distance and even a football size field would shrink towards infinitesimal relative size.
ISS Is Supposed To Be Some 249 Miles Away
"The International Space Station (ISS) is a space station, or a habitable artificial satellite, in low Earth orbit. Its first component launched into orbit in 1998, and the ISS is now the largest human-made body in low Earth orbit and can often be seen with the naked eye from Earth. The ISS consists of pressurised modules, external trusses, solar arrays, and other components. ISS components have been launched by Russian Proton and Soyuz rockets, and American Space Shuttles."
"The ISS serves as a microgravity and space environment research laboratory in which crew members conduct experiments in biology, human biology, physics, astronomy, meteorology, and other fields. The station is suited for the testing of spacecraft systems and equipment required for missions to the Moon and Mars. The ISS maintains an orbit with an altitude of between 330 and 435 km (205 and 270 mi) by means of reboost manoeuvres using the engines of the Zvezda module or visiting spacecraft. It completes 15.54 orbits per day."
The Solar System Model To Scale
To Scale: The Solar System source: To Scale:
We Are Sub Atomically Small Relative To The Size of The Earth
There are many reasons why outer space exploration is nothing but a long standing internationally managed hoax. A good part of this long standing deception relies on cultish adherence to the catechism of a very real modern religion which is all that the NASA based heliocentric offering is. We are ridiculously tiny relative to our environment and this scale is something NASA and other so-called "scientific" outfits seem to not want to focus on. They tend to show models of the solar system or the Earth and Moon system that are not to scale. Once one sees the fact that this model is mostly comprised of empty and supposedly vacuous space, one can start to appreciate how absurdly cartoonish the mainstream cosmology really is. This a a vast subject and if you are interested in it, see the article index or look to the menu at the bottom of this website for more. Suffice it to say that the founders of the so-called "scientific age of enlightenment" seem to have been superstitious and alchemically inclined minded men who were obsessed with making the Sun the center of the Universe.
Please consider how much smaller than an atom's imagined orbiting electron, even the largest man made rocket would be in the context of this model.
If you draw the solar system to scale on a sheet of paper the planets would be microscopic.
image source: To Scale:
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We are sub-atomically small relative to it all.
The space between the two arrows represents 1000 miles.
Relative Size Matters
Please consider too that an orbiting space station is supposed to be some 250 mile up. Consider that in the context of this illustration.
The space between the two arrows represents 1,000 miles. Even at 17,1710 mph, it would take the imagined International Space Station about three and half minutes to travel this distance of 1,000 miles.
ISS: IMAGINED INTERNATIONAL SPACE STATION
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Georges Méliès: Father of International Space Fakery
Early Film Special Effects Pioneer
Georges Méliès: War Footage Faker
"Georges Méliès, the pioneer filmmaker, shot faked footage of the war of 1897—including the earliest shots of what was claimed to be naval warfare, and some horrific scenes of atrocities in Crete. All were created in his studio or his back yard in Paris."
Georges Méliès: Father of Faking Outer Space and Moon Landings
He was a stage illusionist and an early late 19th century and early 20th century film director.
Georges Méliès is one of the fathers of the special effects industry and in many ways he is also one of the fathers of "outer space travel".
"Marie-Georges-Jean Méliès, known as Georges Méliès ... was a French illusionist and film director who led many technical and narrative developments in the earliest days of cinema. Méliès was an especially prolific innovator in the use of special effects, popularizing such techniques as substitution splices, multiple exposures, time-lapse photography, dissolves, and hand-painted color. He was also one of the first filmmakers to use storyboards. His films include A Trip to the Moon (1902) and The Impossible Voyage (1904), both involving strange, surreal journeys somewhat in the style of Jules Verne, and are considered among the most important early science fiction films, though their approach is closer to fantasy."
image and quote source: https://en.wikipedia.org/wiki/Georges_M%C3%A9li%C3%A8s
The History of Special Effects
"In 1857, Oscar Rejlander created the world's first "special effects" movie by combining different sections of 30 negatives into a single image. It was a montaged combination print. In 1895, Alfred Clark created what is commonly accepted as the first-ever motion picture special effect. While filming a reenactment of the beheading of Mary, Queen of Scots, Clark instructed an actor to step up to the block in Mary's costume. As the executioner brought the axe above his head, Clark stopped the camera, had all of the actors freeze, and had the person playing Mary step off the set. He placed a Mary dummy in the actor's place, restarted filming, and allowed the executioner to bring the axe down, severing the dummy's head. Techniques like these would dominate the production of special effects for a century."
"It wasn't only the first use of trickery in cinema, it was also the first type of photographic trickery only possible in a motion picture, i.e. the "stop trick". Georges Méliès accidentally discovered the same "stop trick." According to Méliès, his camera jammed while filming a street scene in Paris. When he screened the film, he found that the "stop trick" had caused a truck to turn into a hearse, pedestrians to change direction, and men to turn into women. Méliès, the stage manager at the Theatre Robert-Houdin, was inspired to develop a series of more than 500 short films, between 1914, in the process developing or inventing such techniques as multiple exposures, time-lapse photography, dissolves, and hand painted colour. Because of his ability to seemingly manipulate and transform reality with the cinematograph, the prolific Méliès is sometimes referred to as the "Cinemagician." His most famous film, Le Voyage dans la lune (1902), a whimsical parody of Jules Verne's From the Earth to the Moon, featured a combination of live action and animation, and also incorporated extensive miniature and matte painting work."
"From 1910 to 1920, the main innovations in special effects were the improvements on the matte shot by Norman Dawn. With the original matte shot, pieces of cardboard were placed to block the exposure of the film, which would be exposed later. Dawn combined this technique with the "glass shot." Rather than using cardboard to block certain areas of the film exposure, Dawn simply painted certain areas black to prevent any light from exposing the film. From the partially exposed film, a single frame is then projected onto an easel, where the matte is then drawn. By creating the matte from an image directly from the film, it became incredibly easy to paint an image with proper respect to scale and perspective (the main flaw of the glass shot). Dawn's technique became the textbook for matte shots due to the natural images it created. During the 1920s and 1930s, special effects techniques were improved and refined by the motion picture industry. Many techniques—such as the Schüfftan process—were modifications of illusions from the theater (such as pepper's ghost) and still photography (such as double exposure and matte compositing). Rear projection was a refinement of the use of painted backgrounds in the theater, substituting moving pictures to create moving backgrounds. Lifecasting of faces was imported from traditional maskmaking. Along with makeup advances, fantastic masks could be created which fit the actor perfectly. As material science advanced, horror film maskmaking followed closely."
"Also, the challenge of simulating spectacle in motion encouraged the development of the use of miniatures. Naval battles could be depicted with models in studio. Tanks and airplanes could be flown (and crashed) without risk of life and limb. Most impressively, miniatures and matte paintings could be used to depict worlds that never existed."
"Several techniques soon developed, such as the "stop trick", wholly original to motion pictures. Animation, creating the illusion of motion, was accomplished with drawings (most notably by Winsor McCayin Gertie the Dinosaur) and with three-dimensional models (most notably by Willis O'Brien in The Lost World and King Kong). Many studios established in-house "special effects" departments, which were responsible for nearly all optical and mechanical aspects of motion-picture trickery."
"Also, the challenge of simulating spectacle in motion encouraged the development of the use of miniatures. Naval battles could be depicted with models in studio. Tanks and airplanes could be flown (and crashed) without risk of life and limb. Most impressively, miniatures and matte paintings could be used to depict worlds that never existed. Fritz Lang's film Metropolis was an early special effects spectacular, with innovative use of miniatures, matte paintings, the Schüfftan process, and complex compositing. An important innovation in special-effects photography was the development of the optical printer. Essentially, an optical printer is a projector aiming into a camera lens, and it was developed to make copies of films for distribution. Until Linwood G. Dunn refined the design and use of the optical printer, effects shots were accomplished as in-camera effects. Dunn demonstrating that it could be used to combine images in novel ways and create new illusions. One early showcase for Dunn was Orson Welles' Citizen Kane, where such locations as Xanadu (and some of Gregg Toland's famous 'deep focus' shots) were essentially created by Dunn's optical printer."
Reel Life or Real Life?
Georges Méliès and the other early visual effects pioneers would create the foundation for an industry that would become extremely important to Hollywood and to the Military Industrial Complex as well. The Youtube video below is set to start playing from the point in the documentary that takes a short look at King Kong's pre-World War Two special effects. The original King Kong film shows off impressive visual effects for a 1933 film release. Please keep in mind with the proper use of film stock and other refinements, visual effects shots that combine live action actors with miniatures and models can be made to look very believable to the point where the audience is easily fooled. This use of model work continues to this day, with traditional real world model work taking a back seat to computer generated three dimensional modeling magic that is now ubiquitous.
10 Best Movie Effects That Didn't Use CGI source: AlltimeMovies
"The basics of rocket travel were presented to a mass audience for the first time by this film, including the use of a multi-stage rocket."
"The film was shot between October 1928 and June 1929 at the UFA studios in Neubabelsberg near Berlin."
"Woman in the Moon (German Frau im Mond) is a science fiction silent film that premiered 15 October 1929 at the UFA-Palast am Zoo cinema in Berlin to an audience of 2,000. It is often considered to be one of the first "serious" science fiction films. It was written and directed by Fritz Lang, based on the novel The Rocket to the Moon by his collaborator Thea von Harbou, his wife at the time. It was released in the USA as By Rocket to the Moon and in the UK as Woman in the Moon. The basics of rocket travel were presented to a mass audience for the first time by this film, including the use of a multi-stage rocket. The film was shot between October 1928 and June 1929 at the UFA studios in Neubabelsberg near Berlin."
source: Woman in the Moon - Wikipedia
DC SUPERHERO COMIC-BOOK SPACE STATION
HEADQUARTERS OF SUPERMAN AND FRIENDS
image source: DC Histories: Justice League
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A History of U.S. Space Stations
"In 1923, Hermann Oberth, a Romanian, coined the term “space station.” Oberth’s station was the starting point for flights to the Moon and Mars. Herman Noordung, an Austrian, published the first space station blueprint in 1928. Like today’s International Space Station, it had modules with different functions. Both men wrote that space station parts would be launched into space by rockets."
"Hermann Julius Oberth (German pronunciation: ['hɛrman 'ju:lɪʊs 'o:bɐt]; 25 June 1894 – 28 December 1989) was an Austro-Hungarian-born German physicist and engineer. He is considered one of the founding fathers of rocketry and astronautics, along with the French Robert Esnault-Pelterie, the Russian Konstantin Tsiolkovsky and the American Robert Goddard. ... In 1912, Oberth began the study of medicine in Munich, Germany, but at the outbreak of World War I, he was drafted into the Imperial German Army, assigned to an infantry battalion, and sent to the Eastern Front against Russia. In 1915, Oberth was moved into a medical unit at a hospital in Sighișoara (German Schäßburg, Hungarian Segesvár), Transylvania, in Austria-Hungary (today Romania). There he found the spare time to conduct a series of experiments concerning weightlessness, and later resumed his rocketry designs. By 1917, he showed designs of a missile using liquid propellant with a range of 180 miles to Hermann von Stein, the Prussian Minister of War."
"There he found the spare time to conduct a series of experiments concerning weightlessness, and later resumed his rocketry designs."
What kind of experiments could this guy even claim to have conducted back in 1915?
Faking Rocketry and Space Flight
"In parts of 1928 and 1929, Oberth also worked in Berlin, Germany as a scientific consultant on the film, Frau im Mond ("The Woman in the Moon"), which was directed and produced by the great film pioneer Fritz Lang at the Universum Film AG company. This film was of enormous value in popularizing the ideas of rocketry and space exploration. One of Oberth's main assignments was to build and launch a rocket as a publicity event just before the film's premiere. He also designed the model of the "Friede", the main rocket portrayed in the film. On 5 June 1929, Oberth won the first (Robert Esnault-Pelterie - André-Louis Hirsch) "Rep-Hirsch Prize" of the French Astronomical Society for the encouragement of astronautics in his book Wege zur Raumschiffahrt ("Ways to Spaceflight") that had expanded Die Rakete zu den Planetenräumen to a full-length book."
"In the autumn of 1929, Oberth conducted a static firing of his first liquid-fueled rocket motor, which he named the Kegeldüse. The engine was built by Klaus Riedel in a workshop space provided by the Reich Institution of Chemical Technology, and although it lacked a cooling system, it did run briefly. He was helped in this experiment by an 18-year-old student Wernher von Braun, who would later become a giant in both German and American rocket engineering from the 1940s onward, culminating with the gigantic Saturn V rockets that made it possible for men to land on the Moon in 1969 and in several following years. Indeed, Von Braun said of him: Hermann Oberth was the first, who when thinking about the possibility of spaceships grabbed a slide-rule and presented mathematically analyzed concepts and designs.... I, myself, owe to him not only the guiding-star of my life, but also my first contact with the theoretical and practical aspects of rocketry and space travel. A place of honor should be reserved in the history of science and technology for his ground-breaking contributions in the field of astronautics."
Pop Art Plants The Seeds For Future Live Action Depictions of The Same Kinds of Fantasies
Some labeled fiction, some labeled real, all manufactured and produced by what is essentially an endlessly working propaganda war machine. The entertainment industry is the most powerful consciousness shaping medium humanity has ever experienced.
image source: The Fantastic Four: the origin
A comic book fantasy depicted above, and the same kind of fantasy sold as a version of reality, below:
Rockets Cannot Work In A Vacuum
The critic "Earthbound" a supposed M.I.T graduate was right. Please notice the lack of any real denial of his point, instead all we have is an ad hominem attack, nothing like selling obvious fallacies as sound and rationale logic. We also do not have a detailed description of the exchanges. I wonder how many more published criticisms of what would become fundamental mainstream assumptions about reality itself, existed and are simply forgotten and lost to us.
It's interesting to come upon examples of actual criticism that occurred before things were revised and whitewashed into the current form so many of us assume makes sense and is representative of reality.
source: Oberth Rocket Ready - AIAA ARC
Oberth and von Braun
"THE PROPHET OF SPACE TRAVEL - HERMANN OBERTH"
By Wernher von Braun
"The title alone--Rockets Into Outer Space --a sign of progress, must have seemed to be an impudently bold one at that time."
"Looking back, it reflects a dramatic period of development spanning an entire human life, which led from optimistic beginnings and idealistic plans, through countless technical disappointments and setbacks, and finally to the actual realization of his goal of sending rockets into outer space. "
"Hermann Oberth's book, Rockets Into Outer Space, was published in 1923. It is the scientific foundation upon which the technical development of astronautics has since been built. Until the publication of this book about 60 years ago, the idea of future space travel was not much more than a figment of the imagination. Of course, Hermann Oberth had predecessors: Like all scientists, he too founded his contribution to progress on an inherited body of thought. The Frenchman Jules Verne had depicted reaching the moon with a giant cannon and even correctly calculated the required firing speed for this. The German Hermann Ganswindt and the Russian Konstantin E. Ziolkowsky had already pointed out the advantages of the rocket principle for the construction of spaceships. The American Robert H. Goddard had explained that is was possible to reach the vacuum of outer space and perhaps even to ignite a flash charge on the moon. Nevertheless, the idea of working out a scientific analysis of the problem of space travel still seemed totally eccentric and absurd to every physicist and mathematician. Hermann Oberth was the first to go beyond the idea, to pick up a slide rule and numerically work out concepts and construction designs. His many years of study first culminated in the book Rockets Into Outer Space , which gave us a multitude of pioneering ideas. The trains of thought and the calculations laid down here prove the technical feasibility of space travel. With prophetic clarity Hermann Oberth describes all the essential elements of our present large rockets, elements which contemporary writers often believe to be the discoveries of recent years. Beyond this he developed the theoretical bases for the principle and operation of liquid-fuel rockets, as well as the methods for guiding them. The title alone--Rockets Into Outer Space --a sign of progress, must have seemed to be an impudently bold one at that time. Looking back, it reflects a dramatic period of development spanning an entire human life, which led from optimistic beginnings and idealistic plans, through countless technical disappointments and setbacks, and finally to the actual realization of his goal of sending rockets into outer space. The unmanned and manned satellites and service modules which orbit our earth and go to the moon, Mars, and other heavenly bodies have proven to the entire world the correctness of the theories which Oberth put forward in his book. The calculations and designs which he set down there became the point of departure for the development of large rockets in Germany and have thereby exercised a lasting effect on all later developmental work in this field in other countries as well."
IGNATIUS evolves Into NAZI who then merge with USA to become NASA
"The 24th edition of Etymologisches Wörterbuch der deutschen Sprache (2002) says the word Nazi was favored in southern Germany (supposedly from c. 1924) among opponents of National Socialism because the nickname Nazi, Naczi (from the masc. proper name Ignatz, German form of Ignatius) was used colloquially to mean "a foolish person, clumsy or awkward person." Ignatz was a popular name in Catholic Austria, and according to one source in World War I Nazi was a generic name in the German Empire for the soldiers of Austria-Hungary."
"Please do not call us Nazis, It is an offensive and derogative term. Thank you very much. Now back to the film."
"An older use of Nazi for national-sozial is attested in German from 1903, but EWdS does not think it contributed to the word as applied to Hitler and his followers. The NSDAP for a time attempted to adopt the Nazi designation as what the Germans call a "despite-word," but they gave this up, and the NSDAP is said to have generally avoided the term. Before 1930, party members had been called in English National Socialists, which dates from 1923. The use of Nazi Germany, Nazi regime, etc., was popularized by German exiles abroad. From them, it spread into other languages, and eventually was brought back to Germany, after the war. In the USSR, the terms national socialist and Nazi were said to have been forbidden after 1932, presumably to avoid any taint to the good word socialist. Soviet literature refers to fascists."
From Deceptive Film Making Nazi Scientist To Deceptive Film Making NASA Scientist
"In 1938, the Oberth family left Sibiu, Romania, for good, to first settle in Austria, then in Nazi Germany, then in the United States, and finally back to a free Germany. Oberth himself moved on first to the Technische Hochschule in Vienna, Austria, then to the Technische Hochschule in Dresden, Germany. (A Technische Hochschule at that time was a technical college offering advanced professional training in selected fields, rather than an institution also engaged in basic research as a university.) Oberth moved to Peenemünde, Germany, in 1941 to work on the Aggregate rocket program. Around September 1943, he was awarded the Kriegsverdienstkreuz I Klasse mit Schwertern (War Merit Cross 1st Class, with Swords) for his "outstanding, courageous behavior ... during the attack" on Peenemünde by Operation Hydra, part of Operation Crossbow. Later he worked on solid-propellant anti-aircraft rockets at the German WASAG military organization near Wittenberg. Around the end of World War II in Europe, the Oberth family moved to the town of Feucht, near Nuremberg, Germany, which became part of the American Zone of occupied Germany, and also the location of the high-level war-crimes trials of the surviving Nazi leaders. Oberth was allowed to leave Nuremberg to move to Switzerland in 1948, where he worked as an independent consultant and a writer."
"In 1950, Oberth moved on to Italy, where he completed some of the work that he had begun at the WASAG organization for the new Italian Navy. In 1953, Oberth returned to Feucht, Germany, to publish his book Menschen im Weltraum (Man into Space), in which he described his ideas for space-based reflecting telescopes, space stations, electric-powered spaceships, and space suits."
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U.F.O.s are another hoax promoted by the mainstream media and government.
Hollywood brings ideas to life.
image source: m wilcox | Tumblr
"During the 1950s and 1960s, Oberth offered his opinions regarding unidentified flying objects (UFOs). He was a supporter of the extraterrestrial hypothesis for the origin of the UFOs that were seen at the Earth. For example, in an article in The American Weekly magazine of 24 October 1954, Oberth stated, "It is my thesis that flying saucers are real, and that they are space ships from another solar system. I think that they possibly are manned by intelligent observers who are members of a race that may have been investigating our earth for centuries..."  He also wrote an article in the second edition of Flying Saucer Review titled "They Come From Outer Space". He discussed the history of reports of "strange luminous objects" in the sky, mentioning that the earliest historical case is of "Shining Shields" reported by Pliny the Elder. He wrote, "Having weighed all the pros and cons, I find the explanation of flying discs from outer space the most likely one. I call this the "Uraniden" hypothesis, because from our viewpoint the hypothetical beings appear to come from the sky (Greek – 'Uranos')."
"Oberth eventually came to work for his former student, Wernher von Braun, who was developing space rockets for NASA in Huntsville, Alabama. (See also List of German rocket scientists in the United States). Among other things, Oberth was involved in writing the study, The Development of Space Technology in the Next Ten Years. In 1958, Oberth was back in Feucht, Germany, where he published his ideas on a lunar exploration vehicle, a "lunar catapult", and on "muffled" helicopters and airplanes. In 1960, back in the United States again, Oberth went to work for the Convair Corporation as a technical consultant on the Atlas rocket program."
Oberth: The Father of Imaginary Electric & Ion Propulsion
"After World War I, Oberth pursued studies in astronautics. He performed experiments to simulate weightlessness and worked out a design for a long-range, liquid-propellant rocket. In 1923, he published The Rocket into Interplanetary Space and explained mathematically how rockets could achieve a speed that would allow them to escape Earth's gravitational pull by using stages. In 1929 he published another book, Ways to Space Flight, in which he anticipated the development of electric and ion propulsion. In 1931 Oberth received a patent for a liquid-propellant rocket from the Romanian Patent Office, and the first rocket was launched on May 7, 1931, near Berlin. In 1941 he was transferred to the German rocket development center where he worked for Wernher von Braun, his former assistant."
image source: Professor Hermann Oberth, "the father of space flight," in the Hermann-Oberth Rocket and Space Flight Museum in Feucht, Germany (near Nuremberg). • https://www.meaus.com/centuryAhead.html
Oberth The Father of Theatrical Multi-Staged Lies:
"Oberth demonstrated that a rocket can operate in a vacuum and that it can surpass the velocity of its own exhaust; he also pointed out the superiority of liquid fuels in producing maximum exhaust velocity."
quote source: http://www.historyofinformation.com/expanded.php?id=3008
Consider how obviously preposterous this concept is in light of the scale and proportion of The Solar System model, not to mention the vast infinite vacuum of the Universe, as imagined by mainstream minds. The exhaust of the sub-atomically sized rocket, (relative to imagined vastness of space) would expand into what is supposed to be essentially an infinite vacuum. The gas would not be expected to do any work. There would be nothing for the rocket to push against. Repeating Newtonian "Law" as a mantra is a sign of religious fervor, not scientific reason. Just consider how all motion, that we can actually experience, requires a medium. Rocket thrust requires appropriate pressured atmosphere. Even sparks cannot occur in a true vacuum. There has do be something there to spark. There has to be a tangible medium. Logic and common sense should matter over religious adherence to one particular set of thoughts, but in our world this is not so. Illogically applied mathematics and fallacious peer reviewed blessing have counted as empirical experiment for centuries.
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"Rocketry pioneer Hermann Oberth published this little gem of a book in 1959. Oberth was born in Transylvania in 1894, read a lot of Jules V..."
image and quote source: Mutterings of a Mad Bookseller: Not Your Daddy's Chevy...
The Early 1920's:
"...that the technology of the time permitted the building of machines capable of rising above the earth’s atmosphere..."
Does this sound right to you who are reading this now, some one hundred years later?
Do you believe the technology existed in the early 1920's would support this claim, or do you find this idea to be nothing but a very unscientific fantasy?
"When the thesis was rejected by the university Oberth paid for its commercial publication. The work was highly influential on the founding in 1927 of the German amateur rocket society,"
"In 1923 Romanian-German physicist Hermann Oberth published Die Rakete zu den Planetenräumen in Munich and Berlin at the press of R. Oldenbourg. This book began as a doctoral thesis on the rocket in interplanetary space which Oberth submitted to the University of Heidelberg in 1922. When the thesis was rejected by the university Oberth paid for its commercial publication. The work was highly influential on the founding in 1927 of the German amateur rocket society, Verein für Raumschiffahrt, to which most of the early German rocketeers belonged, and which became a focal point of early rocketry research."
"In his book Oberth set out to prove four propositions: (1) that the technology of the time permitted the building of machines capable of rising above the earth’s atmosphere; (2) that these machines could attain velocities sufficient to prevent their falling back to earth, or even to escape the earth’s gravitational pull; (3) that such machines could be built to carry human beings; and (4) that under certain conditions, their manufacture might be profitable. Oberth demonstrated that a rocket can operate in a vacuum and that it can surpass the velocity of its own exhaust; he also pointed out the superiority of liquid fuels in producing maximum exhaust velocity. He described in detail the designs of a prototypical instrument-carrying rocket and a theoretical space-ship, and developed the first sketchy model of a space station. Oberth's work became more widely known through its greatly expanded third edition, retitled Wege zur Raumschiffahrt (1929), which contained over 400 pages compared to the 1923 edition’s 92 pages."
NEVER FORGET THE NEED FOR SOME KIND OF MEDIUM OF ENDLESS BALLISTIC MISSILE MILITARY "DEFENSE" BASED THREAT
The Cold War con job continues, to this day. It has evolved into a "post Cold War" form that still relies on the same nuclear threatening paradigm. Never mind the fact that the nuclear threat is another example of fake science, as fake as the huge ballistic missiles meant to carry such technological threat. The footage the government put forth as real back during the mid 20th century Cold War, turns out to be the result of the work of Hollywood visual effects wizards who were in governmental and military propaganda based, contracted, employ.
RON REAGAN HEARTS STAR WARS
Atomic bomb footage was crafted in the US Military's own California film facility, named "Lookout Mountain". Outer Space exists not only as a modern promised land we shall never actually travel to and witness, it also exists as medium for ballistic missile threat and of course potential "Star Wars" style defense involving all sorts of classic science fiction space weaponry of Hollywood design and manufacture. Particle beam weaponry and laser beam guns and the rest are nothing but fantasy as far as any evidence we can actually examine would attest. The government and its mass media minions love selling science fantasy as both science fiction, which is supposed to represent real technological development of some kind, projected into the future, and as so-called "scientific fact" which too many of our fellow human beings believe without giving any of it a second thought. They might even get offended were we to even suggest particle beams or flying electric saucer machines unreal.
"The Strategic Defense Initiative (SDI) was a proposed missile defense system intended to protect the United States from attack by ballistic strategic nuclear weapons (intercontinental ballistic missiles and submarine-launched ballistic missiles). The concept was first announced publicly by President Ronald Reagan on 23 March 1983. Reagan was a vocal critic of the doctrine of mutual assured destruction (MAD), which he described a "suicide pact", and he called upon the scientists and engineers of the United States to develop a system that would render nuclear weapons obsolete."
"The Strategic Defense Initiative Organization (SDIO) was set up in 1984 within the United States Department of Defenseto oversee development. A wide array of advanced weapon concepts, including lasers, particle beam weapons and ground- and space-based missile systems were studied, along with various sensor, command and control, and high-performance computer systems that would be needed to control a system consisting of hundreds of combat centers and satellites spanning the entire globe. A number of these concepts were tested through the late 1980s, and follow-on efforts and spin-offs continue to this day. In 1987, the American Physical Society concluded that the technologies being considered were decades away from being ready for use, and at least another decade of research was required to know whether such a system was even possible.After the publication of the APS report, SDIs budget was repeatedly cut. By the late 1980s, the effort had been re-focused on the "Brilliant Pebbles" concept using small orbiting missiles not unlike a conventional air-to-air missile, which was expected to be much less expensive to develop and deploy. SDI was highly controversial throughout its history, and was criticized for threatening to destabilize the MAD-approach and to possibly re-ignite "an offensive arms race".
"SDI was derisively nicknamed by the media as "Star Wars", after the popular 1977 film by George Lucas. By the early 1990s, with the Cold War ending and nuclear arsenals being rapidly reduced, political support for SDI collapsed. SDI officially ended in 1993, when the administration of President Bill Clinton redirected the efforts towards theatre ballistic missiles and renamed the agency as the Ballistic Missile Defense Organization (BMDO). BMDO was renamed to the Missile Defense Agency in 2002. This article covers efforts under the SDIO."
"You'll believe a long standing, international lie."
Look up in the sky, it's a bird...
it's Zoran Perisic, visual effects wizard, who worked on Stanley Kubrick’s 2001 - A Space Odyssey
"A front projection effect is an in-camera visual effects process in film production for combining foreground performance with pre-filmed background footage. In contrast to rear projection, which projects footage onto a screen from behind the performers, front projection projects the pre-filmed material over the performers and onto a highly reflective background surface."
"Front projection was chosen as the main method for shooting Christopher Reeve's flying scenes in Superman. However, they still faced the problem of having Reeve actually fly in front of the camera. Effects wizard Zoran Perisic patented a new refinement to front projection that involved placing a zoom lens on both the movie camera and the projector. These zoom lenses are synchronized to zoom in and out simultaneously in the same direction. As the projection lens zooms in, it projects a smaller image on the screen; the camera lens zooms in at the same time, and to the same degree, so that the projected image (the background plate) appears unchanged, as seen through the camera. However the subject placed in front of the front projection screen appears to have moved closer to the camera; thus Superman flies towards the camera. Perisic called this technique "Zoptic". The process was also used in two of the Superman sequels (but not used in the fourth movie due to budget constraints), Return to Oz, Radio Flyer, High Road to China, Deal of the Century, Megaforce, Thief of Baghdad, Greatest American Hero (TV), as well as Perisic's films as director, Sky Bandits (also known as Gunbus) and The Phoenix and the Magic Carpet."
Stanley Kubrick’s 2001- A Space Odyssey
"fxg: Let’s go back to the beginning – what led to you developing the first Zoptic system?
"Perisic: We had a lot of challenges on Stanley Kubrick’s 2001- A Space Odyssey with spacecraft and rockets flying against star backgrounds; I felt that there had to be a more efficient way other than rotoscoping and hand painted mattes. Later, while working at Yorkshire TV in England, I was experimenting with slit-scan, using back-projected live action images instead of back-lit moiré patterns as we had done on 2001 – A Space Odyssey. The results were interesting but with limited practical use. I wondered if I could use a thin strip of front-projection material in place of a regular clear slit; I could change the shape of the slit for each frame and so animate the slit-scan distortion effect. This would require mounting a small projector in front of the camera on the slit-scan machine I had built (and installed in our spare bedroom much to the annoyance of my wife). However if I were to front-project a single frame onto a slit as it “scanned” across the full image the result would be an exact copy of the projected image even if the camera/projector unit was tracking in towards it (the projected image gets smaller but so does the image area seen by the camera lens!). Needless to say I abandoned that experiment but was intrigued by the idea. Then a thought struck me – what if I were to use the same camera-projector unit to track towards a regular front projection screen while front-projecting a full moving image at 24 fps? (Auto focus and projector iris compensation would, of course, be required but that was all do-able). The result would be a perfect one-to-one copy of the projected image but an object placed in front of the f.p. screen would appear to get nearer as the camera unit tracked towards it resulting in an apparent movement in depth. Bingo! That in essence was the genesis of Zoptic front-projection system."
"The next step was to make a compact camera/projector package that was manoeuvrable so that the “object” placed in front of the front-projection screen could be made to appear to move in any direction within the frame as well as towards or away from the camera while in fact it remained stationary. Using synchronized zoom lenses on the projector and camera enabled the system to create much subtler and faster maneuvers…and then came a super hero character whose costume featured a blue suit and a red cape – the very colors that make it virtually impossible to derive a good travelling matte using the color difference process (commonly referred to as “blue or green screen” process.) Front-projection was the best option."
Hollywood has always worked with government to craft believable illusions.
Some people seem to think Stanley Kubrick filmed the fake Moon landings. It's an interesting idea but one with no real evidentiary support. This is a rumor that might be true. Does it really matter? What the rumor signifies and what it refers to matters more. What is obvious is that NASA and the rest of the international space agencies are visual effects studios and the idea that Hollywood visual effects pioneers worked with the government and with NASA to fake images of outer space is one with plenty of evidentiary support. Ronald Reagan's World War Two experience with Hollywood special effects experts is not an isolated incident. Lookout Mountain film studio, a governmental operation, famously employed many Hollywood insiders, including actors like Ronald Reagan himself and staff members from Hollywood visual effects teams, as well as writers, directors, and other behind the scenes employees from the various nearby film studios.
"War Stars: The Superweapon and the American Imagination"
"Reagan tells how the Hollywood team would “burn out” their counterparts in “our target scene,” obliterating along with the city, the boundaries between illusion and reality. ...During World War Two "Back in Hollywood, First Lieutenant Ronald Reagan was taking part in what he refers to in his autobiography as one of the major "secrets of war, ranking up with the atom bomb project": creating a complete miniature of Tokyo, so authentic in detail that even top Air Corps generals could not distinguish it from reality."
"As areas of Tokyo were burned out, Reagan tells how the Hollywood team would “burn out” their counterparts in “our target scene,” obliterating along with the city, the boundaries between illusion and reality.”
"Lookout Mountain Air Force Station (LMAFS) is a former defense site which today is a private residence in the Laurel Canyon neighborhood of Los Angeles, California. The USAF military installation produced motion pictures and still photographs for the United States Department of Defense and the Atomic Energy Commission (AEC) from 1947–1969."
"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." W. Donn Hayes (1893–1973), who coined the name American Cinema Editors (ACE), was the past president of the Motion Picture Editors Guild and worked at Lookout Mountain as his last career assignment. Hayes had been in the film and television industries since 1916. Among his credits were Tarzan Escapes (1936), Hitchcock's Rebecca(1940), and Li'l Abner (1940). Another Lookout Mountain editor, William "Bill" Holmes (1904–1978) had edited 54 feature films at Warner Bros. Holmes' credits included: Ben Hur (1925), I Was A Fugitive From A Chain Gang (1932), Dark Victory (1939), They Died With Their Boots On (1941) and Sergeant York, for which he won the 1941 Academy Award for Best Editing. Barry Shipman (1912–1994), one of Lookout Mountain's writers, had written serials for Universal Pictures including Dick Tracy (1937) and Flash Gordon Conquers The Universe (1940), and had written for such TV series as Lassie, Ramar of the Jungle, Adventures of Wild Bill Hicock and Death Valley Days."
"Many of the studio's producers and directors were veterans of Frank Capra's WW II film unit, or had been with combat photo teams of the Army, Navy and Marines."
"In an average year, Lookout Mountain produced 150 reels of finished film, a reel being 10 minutes of film, or roughly 35–40 finished films. In addition, Lookout Mountain provided film input for the monthly Air Force Newsreel, shown to Air Force personnel around the world, and briefing films for HQ USAF and unclassified film clips for the Secretary of the Air Force, Office of Information (SAFOI) to distribute to TV media from film received daily from the 600th Photo Squadron documenting Air Force combat operations in Vietnam. Many of the Film Reports, Training Films and Special Film Projects featured well known Hollywood actors and voice-over narrators. Among those who have starred in Air Force films shot at "the Hill," as Lookout personnel called the studio, were: Reed Hadley, Bob Hope, Jimmy Stewart, Robert Preston, James Garner, Juliet Prowse, Gregory Peck, Keenan Wynn, Marvin Miller, Les Tremayne, Kim Novak, Glenn Ford and Lee Marvin. While a Brigadier General in the Air Force Reserve, Jimmy Stewart narrated several films and starred in a series of public service announcements for the Civil Air Patrol. Leonid Kinsky, who had played the bartender in "Casablanca" in 1942, starred in a series of training films with titles like "Kinsky's Report on Frostbite"."
image and quotes source: https://en.wikipedia.org/wiki/Lookout_Mountain_Air_Force_Station
FAKE WAR CASE STUDY: FRANK CAPRA
"So Frank Capra (whose three Oscars included “It Happened One Night’’ and who oversaw an ambitious series of army training films) assigned George Stevens (whose two Oscars after the war included “Giant’’) to spend two weeks in Algiers staging re-creations (that Harris says were obviously faked) using tanks and soldiers assigned to him. Besides capturing “already blown-up cities being blown up some more,’’ as Stevens described it, “We took tanks and ran them through the water like they did when the British Seventh Army cut off the Germans by taking their tanks out into the water.’’
"Personally supervised by Capra, director John Huston staged additional “African’’ footage in California’s Mojave Desert with dummy tanks being bombed from the air, as well as additional recreations of dogfights between Allied and (fake) German fighters that were shot in Orlando, Fla."
"Frank Capra, whose three Oscars include It Happened One Night and It’s A Wonderful Life, completely faked a victory by the British Army in Algiers."
"Lights, camera fiction: Second World War documentary footage a Hollywood fake"
"In Five Came Back, published last week in America by Penguin Press, he reveals the late Frank Capra, whose three Oscars include It Happened One Night and It’s A Wonderful Life, completely faked a victory by the British Army in Algiers. He filmed “blown-up cities being blown-up some more” and in notes acquired by Mr Harris admits: “We took tanks and ran them through the water like they did when the British Seventh Army cut off the Germans by taking their tanks out into the water.” Additional “African” footage was later shot in California’s Mojave Desert while dogfights between Allied fighter planes and fake German ones were filmed in Orlando, Florida. Decades later both Capra and Huston admitted in interviews that some of their bogus work was “disgraceful” but Huston was less frank publicly about the authenticity of his acclaimed documentary The Battle Of San Pietro, which, in 1991, was selected for America’s prestigious National Film Registry of the Library of Congress because it was considered historically significant. Author Mr Harris’s research reveals Huston arrived at the end of the Italian battle. However, military top brass provided him with hundreds of GIs to use as “extras” and unlimited access to vehicles and equipment. Mr Harris regards this as the “most convincingly faked” footage of a Second World War battle, because it used actual participants and locations although it was filming make-believe action days after the event."
Stanley Kubrick and Arthur C. Clarke
2001's FILM REEL SPACE STATION
Apt visual allegory. The message would seem to be:
"Outer Space Astronauts can only exist on unraveling spinning film strips."
Outer Space only exists in an imagined virtual "space" of projected light onto a screen of some kind, just like the screen you are gazing at right now.
"A 35 mm optical printer with two projector heads,"
Never Trust Reality Occulted By Conniving Convex Camera Lens
"An important innovation in special-effects photography was the development of the optical printer. Essentially, an optical printer is a projector aiming into a camera lens, and it was developed to make copies of films for distribution. Until Linwood G. Dunn refined the design and use of the optical printer, effects shots were accomplished as in-camera effects. Dunn demonstrating that it could be used to combine images in novel ways and create new illusions. One early showcase for Dunn was Orson Welles' Citizen Kane, where such locations as Xanadu (and some of Gregg Toland's famous 'deep focus' shots) were essentially created by Dunn's optical printer."
image source: 2001: A Space Odyssey (film) - Wikipedia
After Stanley Kubrick
According to the official narrative, Kubrick had Nazi propaganda family ties. Imagine that; what are the odds?
"Christiane Kubrick had 42 wonderful years with her husband. But in the decade since his death, she has been beset by tragedy. For the first time, she talks about losing one daughter to cancer, another to Scientology – and why her uncle made films for Goebbels."
"There were some things I always felt nervous asking her about, like anything to do with her uncle Veit Harlan, but tonight over dinner – Paths of Glory making her nostalgic for the early days, I think – she brings the subject up herself. "Stanley and I came from such different, such grotesquely opposite backgrounds," she says. "I think it gave us an extra something. I had an appalling, catastrophic background for someone like Stanley." She pauses. "For me, my uncle was great fun. He and my father planned to join the circus. They were acrobats. They threw me around. It was a complete clown's world. Nobody can imagine that you can know someone who was so guilty so intimately – and yet not know." It turned out that when Harlan wasn't clowning around with Christiane, he was writing and directing propaganda films for Goebbels. The most notorious was a film called Jud Süss, in which venal, immoral Jews take over and ruin a German city, stealing riches, defiling Aryan women, etc. The film was shown to SS units before they were sent out to attack Jews. Harlan was tried twice for war crimes, and exonerated, proving that Goebbels had interfered with Jud Süss, forcing him to re-edit and inject more antisemitism."
"Where my uncle was an enormous fool, as many talented people are, was that he mistook his gift for intelligence," says Christiane. "He was a great big famous film person. He looked better and talked better and had enormous charm. So he thought he was also far more intelligent than Mr Goebbels. Goebbels was 10,000 times smarter than my uncle." She pauses. "Film people, actors, are puppets. We are silly. We are silly folk." Christiane says her uncle's story reinforced for Stanley and her their great principle in life: always be suspicious of people who have, or crave, power. "All Stanley's life he said, 'Never, ever go near power. Don't become friends with anyone who has real power. It's dangerous.' We both were very nervous on journeys when you have to show your passport. He did not like that moment. We always had to go through separate entrances, he with [our] two American daughters upstairs, and me with my German daughter downstairs. The foreigners downstairs! He'd be looking for us nervously. Would he ever get us back? Harlan was born in Berlin. After studying under Max Reinhardt, he first appeared on the stage in 1915 and, after World War I, worked in the Berlin stage. In 1922 he married Jewish actress and cabaret singer Dora Gerson; the couple divorced in 1924. Gerson later died at Auschwitz with her family. In 1929, he married Hilde Körber, having three children with her before divorcing her for political reasons related to the influence of National Socialism. One of their children, Thomas Harlan, became a writer and director in his own right. Afterwards, he married the Swedishactress Kristina Söderbaum, for whom he wrote several tragic roles which included some very dramatic suicide scenes, further increasing their popularity with the German cinema audience."
"After the war Harlan was charged with participating in the anti-Semitic movement and aiding the Nazis. But he successfully defended himself by arguing that the Nazis controlled his work and that he should not be held personally responsible for its content. In 1949, Harlan was charged with crimes against humanity for his role as director of Jud Süß. The Hamburg Criminal Chamber of the Regional Court (Schwurgericht) acquitted Harlan of the charges; however, the court of the British occupation zone nullified the acquittal. In 1951, Harlan sued for an injunction against Hamburg politician Erich Lüth for publicly calling for a boycott of Unsterbliche Geliebte (Immortal Beloved). The District Court in Hamburg granted Harlan's suit and ordered that Lüth forbear from making such public appeals. However, the lower court decision was ultimately overturned in 1958 by the Federal Constitutional Court because it infringed on Lüth's right to freedom of expression. This was a landmark decision because it clarified the importance of the constitutional civil rights in disputes between individuals. Harlan made a total of nine films between 1950 and 1958, dying in 1964 while on vacation in Capri."
FAKE NEWS • FAKE WAR • FAKE HISTORY • FAKE SCIENCE
"News From Nowhere" by Edward Jay Epstein
"When "Television" covered its first war in Vietnam, it showed a terrible truth of war in a manner new to mass audiences. A case can be made, and certainly should be examined, that this was cardinal to the disillusionment of Americans with this war..."
source: page 9, "News From Nowhere" by Edward Jay Epstein
“The public image of American journalism has always included a good proportion of myth. Well before the Second World War, Broadway and Hollywood had made the stereotype of the Intrepid Reporter—dogged in his pursuit of the truth, fearless in his determination to see it printed—nearly as familiar as the white hats that identified the good guys in a Western. The war made legends out of such foreign correspondents as Ernie Pyle and Margaret Bourke-White; in the cold-war years that followed, with their prolonged emphasis on foreign affairs, the image of the newspaper correspondent came to be fixed in a new stereotype, but one every bit as solid, and as favorable, as the old one of Hollywood. Television was at first merely an instrument of this myth, but in the mid-1950s it grew to be something more. With the development of national network news programs, the legend came to life."
The Selling of The Pentagon: Faking War Footage For Television
"Another commonly used device for generating film about an event to which television cameras are not privy is re-enacting the happening. This usually involves having participants act out for the cameras after the fact the part they played in a news event. In this practice, however, the line between what constitutes "staged" news as opposed to a legitimate reconstruction is not always clear. For example, in its documentary on "The Selling of the Pentagon," CBS criticized the Department of Defense for staging the landings of South Vietnamese river patrols for conveniently placed cameramen (since it was known there were no enemy troops in the vicinity)."
"Yet a former Saigon bureau chief pointed out that "it is considered standard operating procedures for troops to fire their weapons for the benefit of cameramen. If our cameramen had to wait until a fire fight with the Vietcong broke out , we'd have much less footage - and perhaps, cameramen."
quote source: page 158, "News From Nowhere" by Edward Jay Epstein
Kubrick Claims War is More Fake Than Most Know
Stanley Kubrick, after doing extensive research about the Vietnam War, claimed most soldiers did not see or experience any combat. The video below is an excerpt from a full interview. Here is the original YouTube link: https://www.youtube.com/watch?v=wvoxjkTNOXE
(The excerpt is from time 53:40) The original video may or may not still be available to watch on YouTube.
Please take a listen:
A Voix Nue: Stanley Kubrick (Rare Radio Interview) source: Obscure437
Visual Effects 2015
The above image was painstaking crafted with 21st century technology.
"War Stars: The Superweapon and the American Imagination"
"Reagan tells how the Hollywood team would “burn out” their counterparts in “our target scene,” obliterating along with the city, the boundaries between illusion and reality.”
Make Your Own "War Stars" and post it on YouTube
"During World War Two "Back in Hollywood, First Lieutenant Ronald Reagan was taking part in what he refers to in his autobiography as one of the major "secrets of war, ranking up with the atom bomb project": creating a complete miniature of Tokyo, so authentic in detail that even top Air Corps generals could not distinguish it from reality. ..."
"As areas of Tokyo were burned out, Reagan tells how the Hollywood team would “burn out” their counterparts in “our target scene,” obliterating along with the city, the boundaries between illusion and reality.”
DEATH STAR SPACE STATION
I almost left out the most famous artificial satellite or space station of them all.