A Proper Gander At Propaganda


PLEASE NOTE: This is not a conspiracy theory blog.

This website exists to serve as public resource for reverse imagineering world-wide culture, one that takes a critical look at the numerous artifacts and other types of relics that represent our shared collective international heritage. This blog is dedicated to examining social engineering and the use of tax funded governmental propaganda, and the mainstream media, as international human resource management tools.

About The AA Morris Proper Gander At Propaganda Podcast: Coming to you from one of the suburban metropolitan melting pots of international culture, outside of one of the multimedia capitals of the world, New York City, the Proper Gander at Propaganda podcast is meant to be a filter free look at our shared international cultural heritage, our shared social media infused and obsessed present, and what our children and their children could be looking forward to. This link will bring you to the podcast page of this website, with embedded squarespace audio: link: http://www.aamorris.net/podcast/

Thank you for taking the time to read this,

AA "The Proper Gander" Morris

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To Scale: The Solar System Model Exposed As Absurd


You can't have an Atomic Cold War In Outer Space if There is No Such Space in the First Place!


Scale and Proporption Matters


Keep in mind how small we are in comparison to the Earth, and then consider the scale of the rest of the mainstream model. Consider human structure is minuscule in comparison to the size of the Earth. The Twin Towers and the New Freedom Tower are far less than microscopic dust compared to the scale and immensity of the vacuum of the Solar System, as are any governmental rockets. The size of the Apollo mission and any other such NASA claim, is nothing compared to the immense vacuum that the Solar System model presents us with. All our human endeavors are as nothing compared to the immense size of this empty model. This is just a public relations frame. The propaganda value is to get us to diminish our own existences as less than nothing. We do not really matter in the scheme of things. Well, what if I told you that this idea is just an idea, founded on empty space?


To create a model of the Solar System to Scale, with the Earth being the size of a marble requires 7 Miles of Empty Space.

The video below shows us what the scale and proportions would actually look like. Please notice the 1 1/2 meter sized model of the Sun is incapable of illuminating the model planets which are represented with lights sources themselves. You would think that it would be easy to demonstrate the solar system model as an actual physical model. Yet we can see clearly that there are many very real problems with the Heliocentric model. This is what an artifact of a religion looks like.

To Scale: The Solar System

Getting Prepped For The Cold War Outer Space Race


"...Starin' at a twenty foot picture frame
Surroundin' a twenty foot blank
Just empty space
But every single mouse
Swore he saw a face
He said don't be scared
We're prepared."

Read more:  Bobby Darin - The Proper Gander Lyrics | MetroLyrics



The Mainstream Model is Pretty Much All Empty Space


Consider the distances and scale of the mainstream Scientism model. Consider the massive vacuum this is supposed to be. The entire mainstream model is a cartoon. This just considers the size of the solar system alone, ignoring the galaxy and the rest of the even more immense, Universe. All an infinitely sized vacuum. This is why Flat Earth is out there. The mainstream model is obviously a tabloid joke. The amount of vacuum based space is beyond imagining. This concept has replaced God for many of us, who do not bother to really understand any of it. The original Newtonian Heliocentric model is a far cry from the one NASA sells. Sir Isaac would think deGrasse & bow tie science guy, insane. The original model was Sun centered with no galaxies. The Universe was just the Solar System and the Fixed Stars. Galaxies were invented much later as a result of the fact that none of this is based on empirical evidence.


  Newton was an Aether Kind Of Science Guy, When Aether Was In Fashion


"Isaac Newton suggests the existence of an aether in The Third Book of Opticks (1718): "Doth not this aethereal medium in passing out of water, glass, crystal, and other compact and dense bodies in empty spaces, grow denser and denser by degrees, and by that means refract the rays of light not in a point, but by bending them gradually in curve lines? ...Is not this medium much rarer within the dense bodies of the Sun, stars, planets and comets, than in the empty celestial space between them? And in passing from them to great distances, doth it not grow denser and denser perpetually, and thereby cause the gravity of those great bodies towards one another, and of their parts towards the bodies; every body endeavouring to go from the denser parts of the medium towards the rarer?"  "

It seems Newton thought gravity was some kind of Aether pressure as a result of the denser Aether in Celestial or "Outer" Space. None of this is based on experiment, this is just one man's musings based on nothing but looking up at the sky and whatever mystical ramblings he was into.

Aether theories - Wikipedia

celestial - Online Etymology Dictionary


NASA and the rest are nothing but Hollywood fantasy product. The Governmental Super Powers of the World are cartoon jokes. Do not be afraid of Hollywood weaponry. Walt Disney got the world addicted to outer space in the first place. ABC's Disney produced Fantasyland programed many child and adult minds to believe a lot of Hollywood cartoon lies.



NASA is Just a Long Standing Psychological Operation


From the earliest days of the space program, Walter brought the excitement, the drama and the achievements of space flight directly into our homes,” said NASA Administrator Charles Bolden.
— https://www.nasa.gov/topics/history/features/cronkite.html
During World War II, Paley served as director of radio operations of the Psychological Warfare branch in the Office of War Information at Allied Force Headquarters in London, where he held the rank of colonel. While based in England during the war, Paley came to know and befriend Edward R. Murrow, CBS’s head of European news. In 1946, Paley promoted Frank Stanton to president of CBS. CBS expanded into TV and rode the post-World War II boom to surpass NBC, which had dominated radio.
— https://en.wikipedia.org/wiki/William_S._Paley#Broadcasting_pioneer

William S. Paley - Wikipedia

Television is the medium of Government

image source: A Sense of Scale




Walter Cronkite - Crying CBS Con Man


Don Hewiit, John Roberts Remember Walter Cronkite

Please notice how they describe their hero. He was like a member of our National family after all. See the power of the 20th Century Psychological - Social Manipulation Weapon, The Communications Grid? This same operation was and is on radio and in print of course, and today we can clearly tell it is online, live and interactive. The noise machine is burning at an incredible 911 and it is being   turned up to 12!  All intended to drown out any truth about our world from reaching the ears of the unawake.

Things like the online Transgender Celebrity Conspiracy Crowded Community are clearly the product of the same Military complex that promotes the exact same Nonsense through the Mainstream Media. Such work would seem to be designed to add a whole bunch of discrediting noise and neural linguistic association to what is clearly becoming very evident. The obvious historical magnitude of the Global scheme stands Naked exposed online for all to investigate and explore for themselves. So we have Neo-Pod Casting and other online Cronkite Con Men - Shepherds, created for the new social media, seeking to divide and conquer the public by ensuring that any real message is drowned out and associated with a whole bunch of obvious nonsense. The idea is that no one will take the rest of it seriously. Despite the fact that there are many real things we can demonstrate. We cannot demonstrate the claims made by the tabloid celebrity worshipping online transgender crowd. Their's is an obvious logical fallacy.


This man was the Master PROPAGANDA Programmer of the 20th Century:



Don Hewitt, a colleague of the late Walter Cronkite, said it was "a double blessing" to be his colleague and his friend. John Roberts, also a former colleague of Cronkite who now works at CNN, reacts to Cronkite's passing as well, and also comments on some of the highlights of his career, including his announcement of JFK's death, as well as his "speechless" take during the Apollo 11 moon landing.


1902 Film Making Photographic Darkroom Effects Show Us The Potential For This Medium To Act As The Ultimate Stage For "Magic"


If more time and effort were spent back in 1902, the effect would have been that much more believable than what we see here.

Consider the concept that film technology was "Top Secret" 20th Century WMD.

The "cheesy" special effects of the 1950's might have been more contrived than we might be tempted to think. This would lead people to believe that Hollywood would be incapable of creating more believable images. This works best when you have a trusted Newsman who is like an Uncle to "everyone". Walter Cronkite is such a character. He could sell the Higher quality photo cartoon work as real. The Zapruder Film is the crafted "evolutionary" or revolutionary next descendant of  1902's A Trip To The Moon. 

A Pair of Head & Moon Shots.

"A Trip to the Moon" ("Le Voyage dans la Lune" 1902 Georges Méliès) full complete film with English narration. Film restoration and narration by Serge Bromberg of Lobster Films. "A Trip to the Moon" or "Voyage to the Moon" (French: "Le Voyage dans la Lune") is a 1902 French black-and-white silent science-fiction film.





From July 16th 1969 Walter Cronkite reports live from the Kennedy Space Center Apollo 11 crew Commander : Neil Armstrong Command Module Pilot : Michael Collins Lunar Module Pilot: Edwin E. Aldrin, Jr.


Yellow journalism - Wikipedia

"Joseph Campbell describes yellow press newspapers as having daily multi-column front-page headlines covering a variety of topics, such as sports and scandal, using bold layouts (with large illustrations and perhaps color), heavy reliance on unnamed sources, and unabashed self-promotion. The term was extensively used to describe certain major New York City newspapers around 1900 as they battled for circulation.[3]

Frank Luther Mott identifies yellow journalism based on five characteristics:[4]

  1. scare headlines in huge print, often of minor news
  2. lavish use of pictures, or imaginary drawings
  3. use of faked interviews, misleading headlines, pseudoscience, and a parade of false learning from so-called experts
  4. emphasis on full-color Sunday supplements, usually with comic strips
  5. dramatic sympathy with the "underdog" against the system."
The liftoff of Apollo 11's Saturn V carrying Neil Armstrong, Buzz Aldrin and Michael Collins into space exploration history on July 16, 1969. Look for the shockwave as the Saturn V punches through the clouds at 1:14! Video: NASA/KSC. Via the Apollo Image Archive http://www.apolloarchive.com/apollo_archive.html

Older broadcast video resolution meant the images did not need to be as realistic as they do for today's High Definition Digital World.


The 20th Century Was The Era of Analog Wireless: The Days of The Radio Wave Broadcast




The National Broadcasting Networks would have had access to slightly higher quality professional video tape. By the time the signal was broadcast by way of very lossy "radio-wave" or rather a form of actual radiation, the signal was even of lower quality, there'd be the inevitable background radio wave noise and thus the resulting picture would hide many sins.





NASA Apollo 11


Obvious Hollywood Model Work: At the end the smoke looks just like dried ice,

This looks like obvious miniature work. The perspective gives it away.

Ignore the voice over. The video reverts to normal playback speed towards the end and that really shows this for the miniature effects sequence it is.

Apollo 11 Saturn V Launch Camera E-8

Uncle Saturnian Walt Presents Fantasy Land: Men in Space!


Pretty much everything in the video below is a cartoon crafted by Disney. The rocket tests towards the end of the video are model work and the perspective and the smoke's motion gives the illusion away. The smoke moves too fast and the perspective indicates that we are looking at miniature work. Please notice how the rocket exhaust looks like something out of a higher budget 1950's science fiction film.

Walt Disney began hosting his own television show for ABC in 1954 in an unusual contract: Disney provided ABC with a weekly hour-long television program in exchange for funding for the construction of Disneyland. As a result, the television show was also originally named Disneyland.

Ward Walrath Kimball

Ward Walrath Kimball worked on too may Disney cartoon films to list here. This man is the kind of person that NASA and the Military would go to to produce live action cartoons that could be sold to the public as reality. The Zapruder film is the tip of this Titanic Newsreel, fictional, iceberg.

This is the weapon of mass destruction.

The governmentally backed expert artist can be a powerful force for governmental social control.

Imaginations are shaped not by philosophers or parroting University indoctrinated minds, but by the talent and creativity and the power the unleashed imagination has. Walt Disney, a fellow cartoonist called this guy a genius. We can look to this man’s body of work for ourselves to see if this claim holds up to inspection.

“While Kimball was a brilliant draftsman, he preferred to work on comical characters rather than realistic human designs. Animating came easily to him and he was constantly looking to do things differently. Because of this, Walt Disney called Ward a genius in the book The Story of Walt Disney. While there were many talented animators at Disney, Ward's efforts stand out as unique.”

“According to Jeff Lenburg's assessment of him, Kimball was a pioneer animator and a great innovator of his time. His work had been honored with the Academy Award for Best Animated Short Film. He served as one of Disney's Nine Old Men. He instilled life to diverse Disney characters, such as Mickey Mouse, Jiminy Cricket, the Cheshire Cat, the Mad Hatter, and Tweedledee and Tweedledum.”

“Kimball spend much of his career animating theatrical animated short films. However, he also served as a director for some of them. He and Charles August Nichols co-directed the animated short films Melody (1953) and Toot, Whistle, Plunk and Boom (1953). Melody was the Disney studio's first animated 3D film.  Toot, Whistle, Plunk and Boom won the Academy Award for Best Animated Short Film. It was the Disney studio's first widescreen CinemaScope animated film.  Kimball also directed the short films It's Tough to Be a Bird (1969) and Dad, Can I Borrow the Car? (1970). It's Tough to Be a Bird won the Academy Award for Best Animated Short Film.”

“Kimball served as a screenwriter for the featurette Eyes In Outer Space (1959). The film combined live action and animation. It depicted weather satellites and explained how the weather is predicted. The film was originally theatrically released. Around 1962, it started being shown in Disneyland.”

“During the 1950s, the Disney studio shifted its focus from theatrical animation to television. Kimball wrote and directed three hour-long television shows about space exploration. They were Man in Space (1955), Man and the Moon (1955), and Mars and Beyond (1957). The consultants for these shows included pioneers of the Space Age, such as aerospace engineer Wernher von Braun. According to animation historian Jeff Lenburg, the three shows helped in sparking popular interest in spaceflight.”

“Kimball was also responsible for the science-fiction two-reel cartoon Cosmic Capers (1957).”



12 To The Moon

Twelve to The Moon 1960

F for Fake (1974) Trailer

Welles' genre-warping free-form cinematic essay uses a series of famous frauds and hoaxes to explore the slippery line separating reality and deception. The film focuses on notorious art forger Elmyr de Hory and Elmyr's biographer, Clifford Irving, who also wrote a celebrated fraudulent Howard Hughes autobiography.

Walt Disney's MultiPlane Camera (Filmed: Feb. 13, 1957)

Capricorn One (1978) Trailer

Capricorn One (1978) fake Mars landing scene


Marooned (1969) Trailer

The Lunar Module Scene From Superman II

Could Hollywood special effects technology be the Top Secret "WMD" of The 20th Century?

How much older were technologies like the Zoptic process? Motion control cameras originate with World War Two gunnery, or so the story goes.

Motion control photography - Wikipedia

Zoran Perisic discussing the Zoptic process on Superman The Movie Interview from 1979 / 1980. First interview discussing the Zoptic techniques used in Superman The Movie. RARE footage.

Zoran Perisic - IMDb


20th Century Hollywood WMD Revealed: The Real Weapons Developed During World War Two & The Cold War?

"The Dykstraflex is a motion picture camera system named after its primary developer John Dykstra. Numerous people actually created the camera, with the critical electronics being created by Alvah J. Miller and Jerry Jeffress.

The camera was developed in 1976 specifically for complex special effects shots in Star Wars. Using old VistaVision cameras (for their high image resolution), created by engineers at Paramount Pictures in 1954, and hand wire wrapped TTL chips, the all-digitally controlled system allowed for 7 axes of motion: roll, pan, tilt, swing, boom, traverse, track, lens focus, motor drive, shutter control, and their duplication in multiple takes.

Dykstra's development of this first digital motion control camera system earned him, Al Miller and Jerry Jeffress Academy Awards in 1978."



Mickey Mouse Club House Models


"Motion control photography is a technique used in still and motion photography that enables precise control of, and optionally also allows repetition of, camera movements. It can be used to facilitate special effects photography. The process can involve filming several elements using the same camera motion, and then compositing the elements into a single image. Other effects are often used along with motion control, such as chroma key to aid the compositing. Motion control camera rigs are also used in still photography with or without compositing; for example in long exposures of moving vehicles.[1][2] Today's computer technology allows the programmed camera movement to be processed, such as having the move scaled up or down for different sized elements. Common applications of this process include shooting with miniatures, either to composite several miniatures or to composite miniatures with full-scale elements.

The process is also commonly used when duplication of an element which cannot be physically duplicated is required; motion control is the primary method of featuring multiple instances of the same actor in a shot that involves camera movement. For this technique, the camera typically films exactly the same motion in exactly the same location while the actor performs different parts. A blank take (with no actor in the shot) is sometimes also taken to give compositors a reference of what parts of the shot are different in each take. This, in common film-making language, is also known as shooting a "plate".

In today's film, the reference take is also useful for digital manipulation of the shots, or for adding digital elements. A simple duplication shot confines each "copy" of an element to one part of the screen. It is far more difficult to composite the shots when the duplicate elements cross paths, though digital technology has made this easier to achieve. Several basic camera tricks are sometimes utilized with this technique, such as having the hand of a body double enter a shot to interact with the actor while the duplicate's arm is to be off-screen. For the sake of compositing, the background elements of the scene must remain identical between takes, requiring anything movable to be locked down; the blank reference take can aid in resolving any discrepancies between the other shots.

Similar technology in modern film allows for a camera to record its exact motion during a shot so that the motion can be duplicated by a computer in the creation of computer generated elements for the same shot."


"Modelmaking for scenery has long been used in the film industry, but when a model is too small it often loses its illusion and becomes "obviously a model". Solving this by building a larger model introduces a dilemma: larger models are more difficult to build and often too fragile to move smoothly. "

"The solution is to move the camera, rather than the model, and the advent of compact lightweight 35mm cameras has made machine-controlled motion control feasible. Motion-control also requires control over other photographic elements, such as frame rates, focus, and shutter speeds. By changing the frame rates and the depth of field, models can seem to be much larger than they actually are, and the speed of the camera motion can be increased or decreased accordingly.

Early attempts at motion control came about when John Whitney pioneered several motion techniques using old anti-aircraft analog computers (Kerrison Predictor) connected to servos to control the motion of lights and lit targets. His film Catalog (1961) and his brother James Whitney's film Lapis (1966) were both achieved with John's pioneering motion control system. The 1968 film 2001: A Space Odyssey pioneered motion control in two respects. The film's model photography was conducted with large mechanical rigs that enabled precise and repeatable camera and model motion. The film's finale was created with mechanically controlled slit-scan photography, which required precise camera motion control during the exposure of single frames. The first large-scale application of motion control was in Star Wars (1977), where a digitally controlled camera known as the Dykstraflex performed complex and repeatable motions around stationary spaceship models. This enabled a greater complexity in the spaceship-battle sequences, as separately filmed elements (spaceships, backgrounds, etc.) could be better coordinated with one another with greatly reduced error.

In the UK The Moving Picture Company had the first practical motion control rig. Designed and built in-house, it used the IMC operating system to control its various axis of movement. Peter Truckel operated it for several years before leaving to pursue a career as a successful commercials director.

The simultaneous increase in power and affordability of computer-generated imagery in the 21st century, and the ability for CGI specialists to duplicate even hand-held camera motion (see Match moving), initially made the use of motion control photography less common. However film producers and directors have come to realise the cost-saving benefit of using motion control to achieve the effects in a reliable and realistic way."






Top 10 Visual Effects You Thought Were Real

"Early attempts at motion control came about when John Whitney pioneered several motion techniques using old anti-aircraft analog computers (Kerrison Predictor) connected to servos to control the motion of lights and lit targets. His film Catalog (1961) and his brother James Whitney's film Lapis (1966) were both achieved with John's pioneering motion control system. The 1968 film 2001: A Space Odyssey pioneered motion control in two respects. "

"With the resurgence of 3D as a medium motion control has also an important role to play, especially in the production of 3D background plates on scaled-sets. Using high resolution still cameras, backgrounds can be easily shot for further use with live action and CGI character animation."







"Early attempts at motion control came about when John Whitney pioneered several motion techniques using old anti-aircraft analog computers (Kerrison Predictor) connected to servos to control the motion of lights and lit targets. His film Catalog (1961) and his brother James Whitney's film Lapis (1966) were both achieved with John's pioneering motion control system. The 1968 film 2001: A Space Odyssey pioneered motion control in two respects. " 


"The Kerrison Predictor was one of the first fully automated anti-aircraft fire-control systems. The predictor could aim a gun at an aircraft based on simple inputs like the observed speed and the angle to the target. Such devices had been used on ships for gunnery control for some time, and versions such as the Vickers Predictor were available for larger anti-aircraft guns intended to be used against high-altitude bombers, but the Kerrison's electromechanical analog computer was the first to be fast enough to be used in the demanding high-speed low-altitude role, which involved very short engagement times and high angular rates."

"By the late 1930s, both Vickers and Sperry had developed predictors for use against high-altitude bombers. However, low-flying aircraft presented a very different problem, with very short engagement times and high angular rates of motion, but at the same time less need for ballistic accuracy. Machine guns had been the preferred weapon against these targets, aimed by eye and swung by hand, but these no longer had the performance needed to deal with the larger and faster aircraft of the 1930s.

The British Army's new Bofors 40 mm guns were intended as their standard low-altitude anti-aircraft weapons. However, existing gunnery control systems were inadequate for the purpose; the range was too far to "guess" the lead, but at the same time close enough that the angle could change faster than the gunners could turn the traversal handles. Trying to operate a calculating gunsight at the same time was an added burden on the gunner. Making matters worse was that these ranges were exactly where the Luftwaffe's dive bombers, which were quickly proving to be a decisive weapon in the Blitzkrieg, were attacking from.

The Kerrison Predictor was a relatively simple device compared to high-altitude predictors and was designed to meet these particular requirements. It was designed by Major A.V. Kerrison at the Admiralty Research Laboratory, Teddington, in the late 1930s. After the war, Kerrison went on to become Director of Aeronautical and Engineering Research at the British Admiralty."


Behind the scenes with Gravity #039;s special effects

Landing on Moon Fraud caught in James Bond Movie

The Science Fiction Propagandist Who Dreamt Up Geostationary Communications Satellites Shows off Circular Reasoned Snake Oils Salesmanship:


This propagandist shill (Arthur C. Clarke - and early deGrasse "bow tie" sci-fi guy) is simply repeating what Nikola Tesla claimed some many decades prior. This guy is pulling a "limited hangout" of informations as you can read for yourself below, satellites are not needed, the ionosphere can be used for dish based radio communications. The skywave entry from wikipedia (as but one source) and Nikola Tesla's work (scroll down for more about Tesla) and the fact that the BBC and RCA were able to send a signal from London and receive it in New York, tells us that satellites are not needed.




"Initially, the station's range was officially a 40 kilometres radius of the Alexandra Palace transmitter—in practice, however, transmissions could be picked up a good deal further away, and on one occasion in 1938 were picked up by engineers at RCA in New York, who were experimenting with a British television set."

Satellites are artifacts of the Cold War Space Race Fear Based Social Duck & Cover conditioning of Washington - Duck and Cover -  "DC".

A communications satellite would be an incredible distance away. Further than the Space Station is supposed to be. The distance is further than most people might realize and this means that the satellite would be useless for relaying a signal, The inverse square law is demonstrable Natural principle. One would think the satellite would be too far away to be of any use to either receive or relay a signal. Radiation is extremely lossy which is why the better internet is based on some kind of wire or fibre optic cable. A wave guide works better which is why Tesla sought to use the Earth to transit both power and information. Ethernet at the office or at home works better than the wireless. 


Geosynchronous satellite - Wikipedia

see: http://www.tfcbooks.com/tesla/1916-12-02.htm


History of BBC Television: 1938

"Initially, the station's range was officially a 40 kilometres radius of the Alexandra Palace transmitter—in practice, however, transmissions could be picked up a good deal further away, and on one occasion in 1938 were picked up by engineers at RCA in New York, who were experimenting with a British television set."

BBC Television - Wikipedia

"In radio communicationskywave 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."

Skywave - Wikipedia

1960: A Vision of the Future, by Arthur C. Clarke

https://en.wikipedia.org/wiki/Planet_of_the_Apes_(novel) 1963


Fantasyland - Wikipedia

fantastic (adj.) 

late 14c., "existing only in imagination," from Middle French fantastique (14c.), from Medieval Latin fantasticus, from Late Latin phantasticus "imaginary," from Greek phantastikos "able to imagine," from phantazein "make visible" (middle voice phantazesthai"picture to oneself"); see phantasm. Trivial sense of "wonderful, marvelous" recorded by 1938. Old French had a different adjective form, fantasieus "weird; insane; make-believe." Medieval Latin also used fantasticus as a noun, "a lunatic," and Shakespeare and his contemporaries had it in Italian form fantastico "one who acts ridiculously."

fantastic (adj.) - Online Etymology Dictionary

Pink Floyd Brain Damage The Dark Side Of The Moon 1973

 "affected with periodic insanity dependent on the changes of the moon,"

Lunatic - Online Etymology Dictionary


As it turns out, Ptolemy was right.


The better model of our World would be an electrical one. The celestial objects used to be regarded as being of a different substance than physical bodies. The concept that the celestial lights in the sky were actually physical bodies was and is one without any empirical evidence for support. There are numerous logical problems with any and all heliocentric based claims. There were and are  many valid and logical reasons to reject the Science Fantasy known as Heliocentric theory. The planets, Sun, Moon and Stars were considered to be made of the Aether and not of the same matter that an apple is made of. The Earth is not Flat nor is it an object that orbits the Sun. The Sun and other celestial phenomena would seem to be electrical in Nature, or at the very least, electrical engineering provides us with a better and way more demonstrable model than the Mainstream University backed patchwork of Multiversal nonsense does. We are not supposed to consider the idea that the Earth is alive.

Aether Is & Allegory Matters

If we consider the work of people like Nikola Tesla, if we consider the phenomena we know as the “ionosphere” and the phenomena known as “sky waves” we can see how the older mythology that described our existence has more validity than what was to replace it. If we look at this all in terms of allegory we can see how Tesla was inspired by Goethe and discovered the polyphase alternating current system that powers the world most take for granted today. 

Celestial spheres - Wikipedia

Sphere of fire


Musica universalis

firmament (n.)  mid-13c., from Old French firmament or directly from Latin firmamentum "firmament," literally "a support, a strengthening," from firmus "strong, steadfast, enduring" (see firm (adj.)). Used in Late Latin in the Vulgate to translate Greek stereoma "firm or solid structure," which translated Hebrew raqia, a word used of both the vault of the sky and the floor of the earth in the Old Testament, probably literally "expanse," from raqa "to spread out," but in Syriac meaning "to make firm or solid," hence the erroneous translation. Related: Firmamental.

firmament (n.) - Online Etymology Dictionary

Primum Mobile

Recommended Lecture:

The internet makes verifying the claims made in lecturers like these easy. This is how you can learn a lot about things like how radio really works. And why the Aether model makes more sense.

Eric Dollard on Tesla Wireless Technology Pt1

Famous Scientific Illusions by Nikola Tesla


The article below is highly recommended as it is by Mr. Tesla himself. He explains how he was going to use the Earth as the conductor to send wireless waves. He wasn't going to send electricity and information through radiation, which is very lossy. That's why the high speed internet is run by way of wire rather than dish based or other radio wave antenna based technology. Keep in mind Tesla sought to use the Earth to get rid of electrical power wiring. He was not just trying to send a morse code, which is all they could do back then, before they engineered the transmission of voice and then pictures and now the internet. Tesla also explains the ionosphere and the Moon. It is a very illuminating read.

see: https://teslauniverse.com/nikola-tesla/articles/famous-scientific-illusions

Nikola Tesla sought to use the Earth to transmit power to any part of the Globe, without wires. The idea is that the Earth rings like a bell.

The banking interests wanted the communications system set up, they did not care about power transmission as power lines work just fine for them. This was not about “Free Energy” this was about the fact Tesla failed to get his project up and running in the manner the bankers needed. He didn’t fit as a stone in the masonry pyramid they were building so they created RCA. The Free Energy stuff has more to do with what we might call “atmospheric” energy. One has to read Tesla in his own words to begin to understand what his work is really about. Eric Dollard’s lectures are a great starting point for learning about the history of radio and electricity.

Click here for Tesla's discovery of the rotating ... - Tesla Memorial Society

Ionosphere - Wikipedia

Skywave - Wikipedia