REQUIEM FOR THE AMERICAN DREAM is the definitive discourse with Noam Chomsky, widely regarded as the most important intellectual alive, on the defining characteristic of our time – the deliberate concentration of wealth and power in the hands of a select few. Purportedly James Allen who made this video died of supposed radio isotope poisoning (about as suspicious as it gets). Military-aeronautical Illustrator Mark McCandlish was riding the wave of success making images of classified projects for the military-industrial complex. Then he made a drawing of a top secret project that he wasn’t supposed to know about. Mark McCandlish was an internationally-recognized artist who has specialized in aviation and conceptual art within the defense and aerospace industries for the better part of the last thirty year, serving the needs of many of the top American corporations in this regard.
One of his former art school friends named Brad Sorenson had gone to an air show at Norton Air Base on November 12, 1988.
Mark met with Brad after they talked on the phone and Brad told Mark the smallest of the three saucers had panels removed so everyone could see the inside of the ship and also had cutaway drawings on display. Mark McCandish after his meeting with Brad Sorenson draw a cutaway blueprint of the ARV (Fluxliner). Capacitors charged to one million volts, causes the vehicle to hover, by stress-energy tensor of high voltage. The power system start up is believed to be two deep cycle marine batteries that supply power to the primary coil. The TR-3B vehicle’s outer coating is reactive to electrical stimulation and can change color, reflectiveness, and radar absorptiveness, thus making the vehicle look like a small aircraft or a flying cylinder- or even tricking radar receivers into falsely detecting a variety of aircraft, no aircraft, or several aircraft at various locations. Sandia and Livermore laboratories developed the reverse engineered MFD (Magnetic Field Disruptor ) technology.
The plasma, mercury based, is pressurized at 250,000 atmospheres at a temperature of 150 degrees Kelvin and accelerated to 50,000 rpm to create a super-conductive plasma with the resulting gravity disruption. The mass of the circular accelerator and all mass within the accelerator, such as the crew capsule, avionics, MFD system, fuels, crew environmental systems, and nuclear reactor, are reduced by 89%. This video may contain copyrighted material the use of which has not always been specifically authorized by the copyright owner. The Earth has been visited by advanced Inter-Stellar Civilizations that can travel through other dimensions faster than the speed of light. For centuries, we have been conditioned with the axiom, “If it looks like a duck and quacks like a duck, then it must be a duck,” but is it really a duck every single time? Due to the extensive amount of data, I will be writing a multiple part story designed to go in-depth covering three major areas in the order of importance that Dr. Today I would like to give you an overview and begin by sharing a story: A true story not about a 13 centimeter specimen nicknamed Ata with DNA factors yet to be determined, but a story of a man who has been inspired over the course of his life. I had a very clear sighting with one of these objects when I was about eight or nine years of age, and it coincided with the time when my uncle was designing the lunar module for Guimond and, of course, I had a great interest in space from him.
Allow me to interject some vital aspects that may better help you understand the nature of consciousness. Because these two terms are exchangeable, it has become difficult for science, namely physics, to properly distinguish and articulate things in a way we can all grasp. Here is where this story gradually begins to morph from a man seemingly chasing after UFO’s to a story about the environment. What I tell people is, these objects are not using oil or jetting fuel or rockets to move from one star system to another or to move non-linearly. The facts contained in the Sirius documentary disclose various layers of information pertaining to the cover up.
This is an interesting science story, environmental story, political story and human story. As I conclude this segment of the story, what impresses me the most is Steven’s solidarity. Our modern civilization is likely to be confronted with the biggest paradigm shift in the perception of reality ever, and through our productions we wish to bring insight from the forefront of this development. FAIR USE NOTICE: This video is for research and educational purposes only with the purpose of promoting environmental, human rights, social, economic and scientific awareness. IkkanDok is a set of knowledge that puts online and provides various topics and featuring the scariest video the strangest and most surprising of science, science fiction, history, the world of animeaux. The documentary film PlantPure Nation tells the story of three people on a quest to spread the message of one of the most important health breakthroughs of all time. In the 1990s, people began to notice that the contrails normally emitted by aircraft were lingering in the sky, forming cloud cover and blocking out the sun. From these tests people have become aware that they are being sprayed – but this gives rise to more questions than it answers.
To try and answer the how, we can look at the list of patents that are related to this sort of technology, and from doing so can conclude that this is entirely possible. People investigating have been monitoring aircraft to try and identify those that are carrying out the spraying.
Here is a small selection of existing videos and photos showing chemtrails as they are being sprayed and the effect of doing so. From these photos and videos I think you’d have to agree that these are not regular contrails but are in actual fact chemtrails. Just as a reminder, a normal contrail is caused by water vapour freezing in certain atmospheric conditions. Kristen Meghan, a former member of the United States Air Force where she was an environmental engineer, has come forward to attest to chemtrail programmes being operated out of bases she worked at. Allan Buckman, who worked for the US Air Force as a weather observer has also come forward to say that chemtrails are real. This is but a small selection of insiders who have come forward to help expose chemtrail programmes. But not only have whistle-blowers come forward to give us information about these programmes. The German Air Force were caught spraying over Germany which appeared on the national news in Germany.
National Geographic recently published the following article about geo-engineering, admitting that it is already in use and arguing that it won’t work forever. The globalist think tank, the Council of Foreign Relations, has advocated for geo-engineering programmes to fight global warming along with a ‘global’ administrative body to run the said programmes. Climate scientists have proposed using this exact method of dumping millions of tonnes in the atmosphere to “fight global warming.” See climate scientist David Keith advocate its use on the 20th Feb 2010 at the American Association for the Advancement of Science meeting in San Diego at this link. I haven’t explained to you why they are doing this and who is doing it, my aim was solely to convince you that this is a real programme for which there are plenty of facts and hard evidence to support its existence.
Newly declassified FBI documents prove that the government knew Hitler was alive and well, and living in the Andes Mountains long after World War II. Recently released FBI documents are beginning to show that not only was Hitler and Eva Braun’s suicide faked, the infamous pair might have had help from the director of the OSS himself, Allen Dulles.
In one FBI document from Los Angles, it is revealed that the agency was well aware of a mysterious submarine making its way up the Argentinian coast dropping off high level Nazi officials.
In a Los Angeles letter to the Bureau in August of 1945, an unidentified informant agreed to exchange information for political asylum. The informant not only knew Hitler was in Argentina, he was one of the confirmed four men who had met the German submarine.
The Argentinian government not only welcomed the former German dictator, but also aided in his hiding. While for obvious reasons the informant is never named in the FBI papers, he was credible enough to be believed by some agents. Even with a detailed physical description and directions the FBI still did not follow up on these new leads. Along with the FBI documents detailing an eye witness account of Hitler’s whereabouts in Argentina, more evidence is coming to light to help prove that Adolf Hitler and Eva Braun did not die in that bunker. In 1945, the Naval Attache in Buenos Aires informed Washington there was a high probability that Hitler and Eva Braun had just arrived in Argentina. Further proof comes in the form of architect Alejandro Bustillo who wrote about his design and construction of Hitler’s new home which was financed by earlier wealthy German immigrants. Perhaps the most damming evidence that Hitler did survive the fall of Germany lies in Russia.
It was not only General Eisenhower who was concerned over Hitler’s compete disappearance, Stalin also expressed his concerns.
With all of the new found evidence coming to light, it is possible and even likely that not only did Hitler escape from Germany; he had the help of the international intelligence community. It would not be the first time the OSS helped a high ranking Nazi official to escape punishment and capture.
The other core theme is the alleged existence of a Nazi flying saucer program and the many evidential strands that this area generates. Bringing us to the the latter part of the twentieth century the documentary illustrates the many sightings of unknown crafts around the Antartic region and the theoretical basis for polar wormholes as entrance and exit points for visiting extraterrestrial spaceships and the possible involvement of HAARP, as well as asking why nearly all American Antarctic bases seem to be populated by agents of the National Security Agency and CIA. There was a retrospective of my single screen video dance work as part of the Rotation 03 Festival at the Kiasma Theatre, Helsinki, in association with Helsinki Museum of Contemporary Arts and Finnish National Gallery for Modern Art.
This event recognized the achievement to date of a body of work and the evolution of a specific aesthetic and approach to making dance for the screen that has been internationally recognized. My initial impulse to make video dance came when, on graduating from the Laban Centre, London in 1988 with a degree in Dance Theatre, I felt the urge to bring dance to as wide an audience as possible.
Fifteen years later, I remain as inspired and excited by video dance as an artistic medium. I am in no way disheartened by this outcome, for what has also happened over the past 15 years is that video dance has come into its own as an art form and there are now many opportunities beyond television for this kind of work to be funded and seen. One of the benefits of having made most of my work independently is that I have been to a great extent free to explore very particular ideas, lines of enquiry and methods of working, in collaboration with many different choreographers and dancers. From a formal point of view, I found Lucinda Childsa€™ exploration of the effect of repetition on our perception of movement intriguing. On reading about Yvonne Rainera€™s work, particularly once she had moved from dance to film-making, I related very strongly to her suggestion that we should find alternative structures than simple narrative closure, in which everything in a story ties up and makes sense by the end. After Laban, I went to art-college in Dundee to undertake a post-graduate course in Electronic Imaging. I saw work by video artists like Bill Viola and Gary Hill, which seemed to me to also to take human movement as its subject and through it conveyed the very essence of human existence.
By the time I graduated from art-college, I had made my own connections between various artistic practises and had formed a clear idea of the kind of ideas that inspired me. The camera, and its relationship to the human body, is central to my approach to making video dance. Whatever the idea for the work, my choices about how to use the camera are strongly influenced by my belief that at the heart of video dance is the expression of human emotion. Through the use of close ups and different angles, the camera can take the viewer to places they could not usually reach. In my experience, it is often the movement of the body parts outside the frame that creates interesting and active viewing. How the camera moves in relation to the performers is another important aspect of filming dance. However, what I have also discovered is that the carefully choreographed camera can lose out on an important element of dance: the feeling of spontaneity, the energy of the moment, which can make watching someone dance live such an exhilarating experience. When I started out making video dance, I would storyboard everything I planned to film, designing exact shots which explored framing and camera movement in relation to the choreographed dance movement. In order to redress this, and in an attempt to retain the integrity of the dancersa€™ performance, I started to explore a more fluid approach to making video dance. The idea of improvisation is that those working, in this case the dancers and camera operator, decide how they should move (or how they should film) in the moment. When developing a new video dance work, as the director, I set a series of improvisations with a€?rulesa€™ suggested by knowledge of the possible spatial and motional relationships between camera and dancers. Shooting on video helps this process immensely, as the performers, camera operator and director can look back at the material and together evaluate the effect of certain decisions and types of movement and how things could tried differently.
In the context of making video dance, improvisation can be a misunderstood a€“ and scary a€“ word.
Whilst it may be accepted that improvisation could be a valid tool for generating ideas and developing material, when it comes to filming material that will be used in the finished video dance, it is usually thought to be wiser to set and rehearse everything before committing to tape. In a€?Pacea€™ (1996), dancer and choreographer Marisa Zanotti and I set out to explore ways of conveying energy and speed on screen.
The energy and rawness of a€?Pacea€™ comes very close to what Marisa and I had envisaged and on this basis of this experience, I have continued to use improvisation in many of the video dance works that I have directed.
For example, in one sequence around two minutes into a€?Pacea€™, the camera moves with the dancer, following a triangular floor pattern through the studio. Beyond the new technology and the creative opportunities it offered, a€?Pacea€™ was also the first time that I worked with visual artist and editor Simon Fildes. Each of the twenty or so video dance works that I have directed have been very different in terms of their starting point, who I have been collaborating with and the context in which they were made. At some level, all explore a€?perceptiona€™ and the idea that our understanding and interpretation of an action, relationship or moment in time depends on our point of view and the information we are given.
Around three or four years ago, I became particularly interested in developing this idea of how different levels and types of perception, both visual and aural, effect the way in which we understand a situation.
In the process of my research, I came across an English company, Touchdown Dance, who work with dancers with visual impairment in the Contact Improvisation form. In a€?Sense-8a€™, the challenge we set ourselves was to take the viewer in deeper and deeper into the performersa€™ experience.


Perception is also a strong theme in a€?The Trutha€™, which takes as its starting point the widespread use of CCTV or surveillance images by the media and how these are exploited to develop speculative narratives around certain high profile events. Together we - Kate, Karin, Simon & Katrina - came up with the concept for a€?The Trutha€™. So we approached the choreographers a€“ Fin Walker (UK) and Paulo Ribeiro (Portugal) - to create the movement for us.
So, although I did come into the studio as the choreographers were creating the movement and look at the movement though the lens, I did not start to make decisions about how the movement would be framed until the choreography was completed. The third element of material that runs through a€?The Trutha€™ is the surveillance-style images, set on the concourse of a station. Just as the concept of the film is that the truth can look different depending on your point of view, so the camera and editing offer many different points of view on the same moments.
Whilst sharing certain stylistic approaches and techniques with the video dance work, the documentaries a€?Adugnaa€™ and a€?Symphonya€™ differ significantly from the video dance work in terms of intention. The challenge in making these films was to capture the essence of the incredible work being done by Royston, his colleagues and the people they work with.
Another way in which the documentaries differ from the other works is that the choreography existed in its own right and was not created specially for the camera. My ambition is to find and communicate ideas that can only be expressed through this hybrid medium and using a style and syntax that is unique to video dance.
Particularly a longer work like a€?The Trutha€™ demands us to allow ourselves to experience the emotional flow of the work, to look carefully and actively and to suspend our judgement. What I am more interested in is to take the viewer on an intense emotional journey, one that cannot necessarily be rationalised or explained away in words.
I saw work by video artists like Bill Viola and Gary Hill, which seemed to me to also to take human movement as its subject and through it conveyed the very essence of human existence.A  A touring programme of German video art from the 1980a€™s particularly impressed me. How the camera moves in relation to the performers is another important aspect ofA  filming dance.
To buy the DVD Five Video Dances at A?25 including postage and packing you can use the PayPal secure server by clicking here. According to Brad, during this air show, he and other VIPs were provided with exclusive access to a special hangar with areas blocked off by big black curtains.
Charge creates an envelope of Zero-G, zero-mass which craft floats in direction of positive charges are achieved by varying charge level in the 48 capacitor sections. The central column may contain a counter rotating mercury liquid or vapor zero point reactor. If so it would seem that a black project has some understanding of the Kinetic Engine (One aspect of it also serve as a Magnetic Field Disruptor) from the recovered Zeta Reticulian saucer from the Plains of San Agustin and the recovery near Aztec New Mexico.
The MFD generates a magnetic vortex field, which disrupts or neutralizes the effects of gravity on mass with in proximity, by 89 percent. This causes the effect of making the vehicle extremely light and able to outperform and outmaneuver any craft yet constructed. We are making such material available in our efforts to advance understanding of environmental, political, human rights, economic, democracy, scientific, and social justice issues, etc. Steven Greer – an emergency room doctor turned UFO researcher – as he struggles to disclose top secret information about classified energy & propulsion techniques. Steven Greer, founder of the Center for Study of Extra-Terrestrial Intelligence (CSETI) established in 1990. A man in search of truth who aims to share what he’s found even when it comes at great personal expense. When I saw this extraterrestrial, it was crystal clear that it was a seamless disk that was under intelligent control and it literally appeared and then disappeared.
It gave me the experience that made me realize that the mind and conscious reality are infinite. It is a term that confuses even the most acclaimed and knowledgeable of scientists because it is so intimately linked to our belief system. Greer delved into the multiple layers of cover up pertaining to UFOs, he began to realize that it had little or nothing to do with any threat posed by these global neighboring citizens; it had to do with us learning the advanced technologies they could share with us. Steven Greer began organizing what was then called Project Starlight, now being released in the Clinton library.
Among other things: one, we are not alone in the universe, and two, this aspect comes with new science and technology. And so my human irony is that I left medicine because I saw the world in a terrible emergency both geopolitically and geophysical and felt that someone needed to lead up an effort to bring this information out. He displays an upbeat spirit in spite of having lost not one, but two very close friends to cancer during this project. Colin Campbell gives a stirring speech on the floor of the Kentucky House of Representatives, his son, Nelson, and Kentucky State Representative Tom Riner work together to propose a pilot program documenting the health benefits of a plant-based diet.
They used cloud seeding technology to prolong the monsoon season to disrupt the Vietnamese supply lines.
Some of these people could see that they were being sprayed with some substance, so in order to understand what it was, they had their rainwater and soil independently tested.
By using flight radar and other computer applications that identify commercial aircraft, investigators are able to determine if the aircraft passing overhead is civilian or not.
These normally dissipate after a few seconds, but some may linger for up to a minute or two in the right temperatures.
I’d like to hear feedback from other flight mechanics about the feasibility of this testimony. Griffith an ex-US government employee has also come forward to give an insider’s view on chemtrail programmes. Other people have come spoken out, including Swedish politician Pernilla Hagberg who openly admitted that chemtrail programmes exist. Despite claiming that it is untested and that its impact upon human health is unknown, David Keith still is in favour of these programmes. It is my hope that I have inspired you enough to continue your own research into this assault upon the Earth and humanity. I have included a number of links for you to begin to look at, at the bottom of this article.
His body was later discovered and identified by the Soviets before being rushed back to Russia. It seems that it is possible that the most hated man in history escaped war torn Germany and lived a bucolic and peaceful life in the beautiful foothills of the Andes Mountains.
What is even more astonishing is the fact that the FBI knew he was in fact living in the foothills of the Andes. Apparently, two submarines had landed on the Argentinian coast, and Hitler with Eva Braun was on board the second.
The informant went on to not only give detailed directions to the villages that Hitler and his party had passed through, but also credible physical details concerning Hitler. Even with evidence placing the German sub U-530 on the Argentinian coast shortly before finally surrounding, and plenty of eye witness accounts of German official being dropped off, no one investigated. With the Soviet occupation of Germany, Hitler’s supposed remains were quickly hidden and sent off to Russia, never to be seen again. Not only did the DNA not match any recorded samples thought to be Hitler’s, they did not match Eva Braun’s familiar DNA either. In 1945, the Stars and Stripes newspaper quoted then General Eisenhower as believing that the real possibility existed of Hitler living safely and comfortably in Argentina. Released FBI documents prove that they were not only aware of Hitler’s presence in Argentina; they were also helping to cover it up. This was first detailed in La Livres Noir De Soucupes Volantes (The Black Book of Flying Saucers – 1970) by French ufologist Henry Durrant. The hoax apparently had been revealed in France some years before but hadn’t percolated its way through to English speaking ufologists. Although I was keen to be a choreographer, I was reluctant to make work that, I felt then, would only be seen by other dance enthusiasts at one of the small, dedicated dance theatres in the big cities. These offered a refreshing alternative to the broadcasts of full length ballets a€?livea€™ from the stage at Covent Garden Opera House that then made up the majority of dance on UK television. What is unexpected is that, of the twenty or so video dance works that I have directed in the intervening decade and a half - and although I have directed many hours of broadcast documentary arts programmes - only one of the video dance works I have made has been commission by and seen on television.
The money to make the majority of my video dance has come from both public and private commissions and the resulting works have been screened all over the world - at festivals and in cinemas, theatres and galleries. This article sets out to describe some aspects of this journey and I hope that it will provide an interesting and illuminating context for the five works a€“ three video dances and two dance documentaries a€“ that are being screened as part of the a€?Rotation 03a€™ festival in Helsinki. Whilst at Laban, I came across the work of the post-modern dance makers, for example, Lucinda Childs, Steve Paxton and Yvonne Rainer. I saw a connection between Childs work and the use of repetition in the music of minimalist such as Steve Reich and Brian Eno, as well as in the dance music that I lost myself in on the dance floor at clubs at the weekend.
To paraphrase Rainer, real life often does not have the comfort of closure and so maybe art should not be so tidy either?
I wanted to make dance for the screen and I realised that, in order to do so, I would need to learn about video production. These experiences where brought to bear on a series of different collaborations and creative environments. With the camera, I try to create an energy that involves the viewer in the movement, allowing them to become an active participant in the action, rather than simply a passive observer. When I look at movement through the lens, I try to do so as though I am involved in an interaction with the person or people in front of me. The lens can enter the dancera€™s kinesphere a€“ the personal space that moves with them as they dance a€“ framing the detail of the movement and allowing an intimacy that would be unattainable in a live performance context. The framing I chose often focuses on a detail of movement, frustrating the audiences view of the a€?wholea€™, whilst at the same time creating dynamic and tension within the shot and forcing the viewersa€™ imagination to come into play.
The choreographed camera, moving through space in relationship to the dancers, alters our perception of the dance, rendering it three-dimensional and creating a fluid and lively viewing experience. This dilemma, and the search to find a solution, has also significantly informed my approach to making video dance. However, over time, I began to feel that what was gained in carefully contrived shots was being lost by a certain lack of fluidity and immediacy in the dancersa€™ performance.
Over a number of works, and in collaboration with different dancers and choreographers, I began to use structured improvisation as a creative tool. They base this decision on their experience of what they see and feel in the moment, informed to a greater or lesser extent by certain ideas, rules, restrictions or a€?scoresa€™.
Through rehearsal and repetition, a vocabulary of framing and movement is built up, forming a palette of video dance material that is then a€?choreographeda€™ in the edit suite. In the process, the dancer and camera really do become dancing partners and a sense of a€?livenessa€™ is captured on tape. However, in my experience, there is a qualitative difference between the performance of video dance material that has been set exactly and that material which retains elements of improvisation.
We were determined to make a video dance work a€“ in this case for broadcast on BBC television a€“ that would have the audience sitting on the edge of their seat. Over a couple of weeks in the studio, Marisa and I developed a series of structured improvisations which were rehearsed and refined until we knew that, come the shooting days, they would generate the type of images we wanted for our video dance.
It is through the juxtaposition of different shots and sounds that the work assumes its emotional impact, as characters are revealed through fragments of action and the viewer is drawn through a series of events and states. Firstly, there is editing for the continuity of the live choreography, where the timing and structure of a work originally made for the stage is more or less maintained. However, it was not until a€?Pacea€™, which was the first time I had the opportunity to use a non-linear digital editing system, that I was really able to push this approach to a new extreme.
In the edit, we initially a€?recreateda€™ this journey by montage-ing shots from different takes of that particular improvisation. Each time this sequence is repeated, a number of shots are dropped, until in the end it is made up of only three shots. I very quickly realised that Simona€™s input went way beyond being able to operate the editing software.
However, there are certain themes that have remained constant throughout almost all of the works.
They also all incorporate the fact that the interplay between vision and sound has a great impact on our perception of what is happening on the screen. I also started to think of making a video dance work which would communicate whether you could see it, hear it or see and hear it. Here, my two main areas of interesta€“ improvisation as a creative tool and visual and aural perception a€“ seemed to converge. We hear the dancers describe, to each other and the viewer, what they are seeing, as they move and as they observe. It explores the idea that the same situation can give rise to completely different interpretations, depending on point of view, perspective and other related information. Usually, I will work with a closely with choreographer to evolve a new idea for a video dance. Related to the idea of different interpretations of the same information that is at the core of a€?The Trutha€™, we then decided that it would add interest and intrigue to work with two choreographers, whose vocabularies and styles differ greatly, thereby giving two different versions of events in the choreography. We asked them to respond to the concept of a€?trutha€™, but we left them in the dark as regards almost every other aspect of the production a€“ location, costume, sound, filming style and soundtrack. Usually I spend a lot of time in the studio with the dancers and choreographer, developing the camera framing and movement as the dancersa€™ movement evolves.
Here we see the four characters, appearing to relate a€“ or not to relate a€“ to each other in very different ways.


They challenge us to look again at the same moment a€“ or movement a€“ from a different perspective and to experience how this changes the impact of that moment and the perceived relationship between the characters. They were made as awareness and fund-raising films for Dance United, a UK-based dance development company, headed up by the visionary teacher and choreographer Royston Maldoom.
We stove to create two films that contain the factual information that needs to be imparted and whilst at the same time communicate the power and potential of dance as a means of expression and as a tool for social change.
However, the approach we took to filming the choreography was to re-structure it entirely for the screen.
What we are making is not a dance, nor is it a video of a dance, or even for that matter, simply a video. Because it is screen-based work a€“ and therefore by default associated with television a€“ there is the danger that the expectation is that everything should be obvious straight away and on one viewing and for there to be a sense of narrative closure. These offered a refreshing alternative to the broadcasts of full length ballets a€?livea€™ from the stage at Covent Garden Opera House that then made up the majority of dance on UK television.A  Now experienced film and television directors and choreographers were being brought together to experiment with movement, cameras and editing and the results were broadcast to audiences that, although perhaps small by prime-time television standards, were inconceivable in a live theatre context. Here, highly textural abstract images, unidentifiable, yet obviously derived from images of human action, were edited using repetition, the sound and image interacting and building up rhythms which I found both compelling and very moving. Here, my two main areas of interesta€“ improvisation as a creative tool and visual and aural perception a€“ seemed to converge.A  Together with Touchdowna€™s director Katy Dymoke, I developed an idea which would eventually become a€?Sense-8a€™, a video dance commissioned by the Arts Council of England as part of their Capture scheme. Profoundly personal and thought provoking, Chomsky provides penetrating insight into what may well be the lasting legacy of our time – the death of the middle class, and swan song of functioning democracy.
Also they seem to be using mercury electrified into a plasma which was used in the Nazi Bell and ancient India Vimana.
The TR-3Bs propulsion is provided by 3 multimode thrusters mounted at each bottom corner of the triangular platform.
Humans have also developed these systems but those in power have suppressed them in order to keep us at the mercy of fossil fuels. His desire to ensure we all understand that we have it in us to change the course of our conditions both externally as well as internally is both humbling and inspiring. I asked Steven to give me a summary and say more about his motivation to pursue his interest in extraterrestrial activities. It did not move like a normal aircraft in broad daylight.My parents thought I was making things up, as parents sometimes do. Brilliant minds such as Nickola Tesla had already developed these technologies in the early 1900s but they were suppressed and never shared with the public. It is a series of briefings by senior government officials about evidence related to UFOs, which led to the Disclosure Project event in 2001 spilling over into the Citizen Hearing on Disclosure, an event that took place in Washington April 29 to May 3, 2013 discussing the material contained in the documentary Sirius.
In my naivete during my thirties I thought that if we put together for the president and for members of congress this information, which is an amazing amount of data with proof and evidence then they would do the right thing in the interest of humanity. But there is documentary evidence for the existence of chemtrails which is overwhelming and inescapably conclusive, and here’s just a taster for some of it. The tests consistently found exceedingly high levels of aluminium, barium and strontium in areas affected by spraying.
With these types of applications, you are able to see the flight number, airline operator and other flight details. Although in reality these programmes have already been ongoing for over 10 years before this conference took place.
As you will no doubt agree, spraying aluminium into the atmosphere on an industrial scale is bad and must be stopped. Is it really possible that the Soviets have been lying all this time, and that history has purposely been rewritten? Added proof comes in the form of newspaper articles detailing the construction of a Bavarian styled mansion in the foothills of the Andes Mountains. That is until 2009, when an archeologist from Connecticut State, Nicholas Bellatoni was allowed to perform DNA testing on one of the skull fragments recovered.
In addition, the film analyses the actual geo-physical possibilities of an underground base in Antarctica. There are now many individual artists and collaborative teams who have made several video dance works and who, over time, have developed their own unique approaches to making dance for the screen. Mainly through the books of Sally Banes, and a very few video documentation of performances, I learnt about their revolutionary approaches to making dance in New York in the a€?sixties and a€?seventies. On visits to the south of Spain, I saw Moorish art that used repetition to create beauty and invoke contemplation.
What I had not anticipated was that I would come across a whole different area of art a€“ video art a€“ which, in my view, shared much in common with the post-modern dance practises which had so inspired me.
Whilst the initial starting point for each of the video dance works I have directed may have be different, the work shares common concerns and approaches. In the need to ensure that a pre-planned camera movement could happen or a certain light and framing came into play, fixed points in space needed to be reached by the dancers. The various sections of the finished work are based on a series of improvisations which explore different relationships between camera and dancer, and the effect of various lenses, framing choices and ways of moving camera in relation to a variety of explorations of movement ideas by the dancer. The significance of a moment, or movement, is explored as time is slowed down, stretched, speeded up, repeated or stopped by the editing. Secondly, there is the a€?montagea€™ approach, in which shots are taken from different spatial and temporal contexts and are re-ordered, breaking down completely the sequence of the live action and creating a spatial logic and rhythm unique to the video dance work.
By using the possibilities offered by this new media, I began to really explore the effect on the perception of time and movement of repeated and altered patterns of montage.
When you watch the sequence in the finished video dance, in your minda€™s eye the truncated sequence still covers the same ground as it did when it was made up of the full 12 shots and the performer seems to compete the phrase in a dramatically shorted space of time. He understood the ideas that Marisa and I had been exploring and was able to take them onto new levels through his understanding of editing. This is something that is often done when a dancer with visual impairment or who cannot see at all, is part of a group of Contact Improvisers. In the case of a€?The Trutha€™, however, it was two dancers, Kate Gowar and Karin Fisher-Potisk, the Artistic Directors of the dancer-run company Ricochet Dance Productions, who approached myself and Simon to make a new video dance work.
It was very exciting for us all that these two talented choreographers embraced the challenged of this very a€?hands offa€™ collaboration with such imagination, understanding and commitment. However, this time it felt important that the choreography should follow its own line of development and be created according to the choreographersa€™ and the dancersa€™ understanding of the characters relationships and interactions. As video dance progresses, our perception of the relationships between these four characters and their relationship to each other is continually altered by the accumulation of information that we glean through the different scenes and interactions a€“ both a€?choreographeda€™ and a€?reala€™ a€“ that we see the characters involved in. Again, the intention was to capture the essence of the choreographed work and the impact of the dancersa€™ performance.
In all the video dance that I have directed, my collaborators and I have tried to make work that, on one level, demands analysis and thought, and on the other, can be enjoyed on an impressionistic or experiential level.
As a young dance-maker, I saw many of these short a€?video dancea€™ works and was inspired and excited by the potential I could see in this new, hybrid medium.
A potent reminder that power ultimately rests in the hands of the governed, REQUIEM is required viewing for all who maintain hope in a shared stake in the future. Detailed information on the history, physics and technological mechanisms regarding faster-than-light travel, anti-gravity, and zero-point energy is also covered in detail. The TR-3B is a sub-Mach 9 vehicle until reaches altitudes above 120,000 feet-then God knows how fast it can go ! Greer also spearheaded the Disclosure Project, a research initiative working to fully disclose the facts about UFOs, extraterrestrial intelligence and classified advanced energy propulsion systems. I was not a religious person at all, my parents in fact were atheist and we were raised without any such beliefs. Undeterred, Nelson decides to try his own pilot project in his hometown of Mebane, North Carolina.
One notable example was in Britain from the late 50s through to the 70s, when large parts of the country were sprayed with chemicals for germ warfare experiments. More recently the Chinese government publicly used cloud busting technology during the Olympics to ensure that the skies remained clear.
These tests have now been carried out in many countries around the world with the same results. From mixing it in the jet fuel, through to dedicated spray nozzles with specially designed feeder tanks.
This has enabled investigators to identify many airlines that are involved in the spraying.
Good had not checked his facts and had in fact just copied the information direct from Durrant’s book. Moreover, whilst when I started out, I was amongst the first of the so-called a€?hybrida€™ video dance artists, having trained in both dance and the moving image, now in the UK and elsewhere, many undergraduate dance courses offer video dance as an area of both practical and academic study. I was intrigued by the post-modernsa€™ perception of movement as interesting in itself and not necessarily representing anything other than itself and by their presentation of so-called a€?pedestrian movementa€™ as dance. The result often seemed to be that the dancersa€™ movement, and therefore performance, was impeded. For those coming from a narrative film background, where the convention is to work from a pre-written script, improvisation can seem an alien concept, although similar practises have been used by many well-known film-makers. In other cases, such as a€?Pacea€™ and a€?Sense-8a€™, all the material that was used in the final edit was generated through structured improvisation.
The narratives that emerge tend to be subtle and intriguing, suggested rather than explained, impressionistic rather than literal. The effect is that the speed of the solo dancera€™s movement seems to increase dramatically as the space closes in. At other times, we catch a€?birda€™s eyea€™ glimpses of the scene from a surveillance-style camera position. It highlights the fact that we all a€?seea€™ things differently and how our descriptions of what we are seeing and hearing a€“ what we pick up on - reveal a great deal about our perception of our environment.
I hoped this would give the dancersa€™ performance an integrity of its own and help to produce a tension between their action and how the viewer then experiences this through the way the camera and the editing interprets and alters the action.
The 3 multimode rocket engines mounted under each corner of the craft use hydrogen or methane and oxygen as a propellant. Section 107, the material on this site is distributed without profit to those who have expressed a prior interest in receiving the included information for research and educational purposes.
But what happened to me after that is that I began to realize that consciousness and mind are actually the final frontier, not space.
It is compelling to watch his determination forging ahead in spite of such odds and the insurmountable body of evidence he has stacked, which threatens his own safety, all in exchange of serving humanity. This information was locked away in Government archives and has only recently been released to the public as 50 years have now passed.
I cite these examples as evidence of weather manipulation technology that has been in use for many years.
Some of the countries in which tests have been done include the USA, Canada, Australia, New Zealand, Britain, France, Germany, Spain, France and many others. From the patent record, we can also see that this technology has been around since before World War 2. This maturing and widening out of video dance means that it has reached the stage where the discussion of the nature of the art form and the support of its continued development can, and must, include very different ways of working, styles of delivery and artistic intentions.
I was also struck by their break away from the conventional theatre setting for dance performances. Dance makers are probably more familiar with the idea of working with improvisation, both as a means of generating material which will then be choreographed and as performance material in its own right. The drama of the chase is then relieved by the gradual introduction of new material, with a very different texture, shape and inherent rhythm.
As the video dance progresses, the camera is drawn closer into the action, until as the viewer you feel as though you too are part of the Contact Improvisation jam. In the edit for a€?Sense-8a€™, we brought all these elements together, adding layers of sound to the montaged visual material to create one fluid, multi-perspective experience of the dance. The MFD creates a disruption of the Earth’s gravitational field upon the mass with in circular accelerator.
He was a physician and former chairman of the Department of Emergency Medicine at Caldwell Memorial Hospital in North Carolina.
Many people have had children with birth defects because of this government sponsored aerosol spraying campaign. Although the chemtrail programme is slightly different, it is based upon the same technology that we know has been deployed historically. It is also evident that some very sophisticated technologies have been developed over the years. Also by using modern cameras with high powered lenses, many excellent videos and photos exist and have been used to help identify those aircraft that are spraying. The more advanced space vehicles are for exploration and have been kept well away from the public.
The nuclear thermal rocket engine use a hydrogen propellant, augmented with oxygen for additional thrust.
So much so, that now it is possible to adapt nearly all types of jet aircraft to this type of use. The reactor heats the liquid hydrogen and injects liquid oxygen in the supersonic nozzle, so that the hydrogen burns concurrently in the liquid oxygen afterburner.



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