Tuesday, January 24, 2012

Ofcom revokes Press TV’s UK licence

Press TV, the news channel backed by the Iranian government, is to be taken off the air in Britain, regulator Ofcom ruled today.

The station was fined £100,000 by Ofcom in December 2011, after the station hid the fact that a 2009 ‘interviewee’ was being forcibly detained in Iran. However, the station did not meet its January deadline to pay the fine.

Ofcom also requested that Press TV name on its licence the person, or body who controls its UK-based operations.

But Ofcom says Press TV failed to accede to either request. As a result, the channel will be taken off its UK platform – Sky television – today.


Complete Civil War submarine unveiled for first time

On weekdays, scientists drain the tank and work on the sub. On weekends, tourists who before this week could only see an obstructed view of the vessel in the water tank, now will be able to see it unimpeded.

Considered the Confederacy's stealth weapon, the Hunley sank the Union warship Housatonic in winter 1864, and then disappeared with all eight Confederate sailors inside.

The narrow, top-secret "torpedo fish," built in Mobile, Alabama by Horace Hunley from cast iron and wrought iron with a hand-cranked propeller, arrived in Charleston in 1863 while the city was under siege by Union troops and ships.

In the ensuing few months, it sank twice after sea trial accidents, killing 13 crew members including Horace Hunley, who was steering.

"There are historical references that the bodies of one crew had to be cut into pieces to remove them from the submarine," Mardikian told Reuters. "There was forensic evidence when they found the bones (between 1993 and 2004 in a Confederate graveyard beneath a football stadium in Charleston) that that was true."

The Confederate Navy hauled the sub up twice, recovered the bodies of the crew, and planned a winter attack.


How to Start a Revolution

There are times when it is necessary to fight against things that have become so wrong that they should no longer be. Things that were once small that have become big, but are no less wrong, must be made small again; a revolution, or a complete circle, is needed. Whether you want freedom from another country , or you want to overthrow an oppressive government, every fight is the same. A revolution (from the Latin revolutio, "a turnaround") is a significant change that usually occurs in a short period of time. Revolutions have happened throughout human history and vary widely in terms of methods, duration, motivating ideology, and the number of participating revolutionaries. Their results include major changes in culture, economy, and socio-political institutions.


Musical Innerlube: Revolutionary tactics - Don`t panic

Austerity for Dummies: The 3-Minute Guide to a Bad Idea

Richard Eskow writes:

"I feel stupid," someone said the other day. "I consider myself well-informed, but I have no idea what the term 'austerity economics' really means."

Actually it's not that complicated, and most of the lesson plan can be found in today's headlines.

We'll explain austerity to you in six steps, and we promise it it won't take more than 900 words. Since adults read an average of 250-300 words per minute -- and we know all of you are above average -- our little course shouldn't take more than three minutes.

It's certainly worth knowing. Despite its many failures, "austerity economics" keeps remaking -- and unmaking -- the global economy. The only disagreement at this weekend's Republican debate was over which candidate would push austerity more aggressively. And austerity dominated the political agenda last year -- "Deficit Commission," anyone? -- until Occupy came along.

Merriam-Webster named "austerity" the "Word of the Year" for 2010. But like the monster from a 1950's science-fiction movie, it just keeps on growing. This week alone the name was invoked in government houses from Athens to Lagos.


Money Insider: US Will See Violent Civil Unrest In 2012

Money insider Charles Ortel has warned that a worsening economic picture across the globe will see civil unrest hit the streets of America, not on behalf of leftist OWS types, but by an armed, “irascible and vocal Majority”.

Ortel, a managing partner with Newport Value Partners, LLC in New York City, predicts that a failure of the so-called financial recovery will precipitate “A painful re-calibration of economic strength and geo-political standing during 2012 in the midst of widespread civil insurrection and cross-border war.”

Noting that Americans’ access to firearms will cause such riots to be bloodier than anything seen in Europe, Ortel predicts that a contented and silent Majority will be turned into “an irascible and vocal Majority,” as a result of numerous macro-economic and geo-political threats facing the country, including the collapse of the euro, the bursting of the financial bubble in China, and the looming debt crisis, all of which will contribute to weak economic growth.

“Some will manage to contain their activities to peaceful protests. However, we believe the far more likely scenario is that violence will result, especially in the United States where the wider population has more ready access to weaponry and where mobs have proven impossible to restrain,” Ortel writes.


Alan Watts - 1967 Houseboat Party

Part 2
Part 3
Part 4
Part 5
The houseboat summit was held by Alan Watts February, 1967 in Sausalito California.
It featured a recorded debate between Timothy Leary, Gary Snyder, Allen Ginsberg, and Alan Watts. Classic discussion.

China should take fight to US over Iran

The US slapped sanctions on China's Zhuhai Zhenrong Company Thursday for engaging in energy deals with Iran. Analysts believe the US was sending a signal to Beijing, after US Treasury Secretary Tim Geithner failed to get China's backing on the Iran issue.

China should not bend to US pressure. It needs to come up with deliberate countermeasures, and show deterrence to an arrogant US. The unilateral sanctions were levied under its own amended Iran Sanctions Act, rather than any UN Security Council resolution.

Iran's oil resources and geopolitical value are crucial to China. Chinese companies have the freedom to engage in legal business with Iran's energy sector. It is worth taking on some troubles and even paying a certain price to safeguard this principle.

China should be confident. The US, facing a tough economy and the coming presidential election, cannot afford a trade war with China. It is not set on having a showdown with China just to impose sanctions on Iran. China has adopted anti-sanction measures against the US before, and this time China should demonstrate the same toughness.


Disruption of biological clocks causes neurodegeneration, early death

New research at Oregon State University (OSU) provides evidence that disruption of circadian rhythms can clearly cause accelerated neurodegeneration, loss of motor function, and premature death.

Prior to this, it wasn’t clear if the disruption of biological clock mechanisms was the cause or the result of neurodegeneration.

[ ... ]

The biological clock, in humans and many other animals, is a complex genetic mechanism tuned to the 24-hour day and regular cycles of light, dark and sleep. It influences a wide range of biological processes, from fertility to hormone production, feeding patterns, DNA repair, sleep, stress reactions, even the effectiveness of medications. In humans, researchers have found strong correlations between disrupted clock mechanisms, aging, and neurologic diseases such as Alzheimer’s and Huntington’s disease.


From Aeneas to Batman: Myth and History - by Bradley J. Birzer

With stealth and no small amount of cowardice, the Greeks creep out of their strange gift, a large wooden horse, under the cover of night and safely within the locked city walls. Rather than face Aeneas and the Trojans as men in battle, the Greeks unlock the gates, letting their murderous comrades in, and proceed to slaughter women and children wantonly. To almost all present, it seems the end of the Trojan civilization. Even Venus, the goddess of Love, and the mother of the great warrior and leader Aeneas, despairs. In answer to her anguish, Jupiter, the king of all gods, assures her, “And, lest new fears disturb thy happy state/Know, I have search'd the mystic rolls of Fate:/Thy son (nor is th' appointed season far)/In Italy shall wage successful war/Shall tame fierce nations in the bloody field/And sov'reign laws impose, and cities build/Till, after ev'ry foe subdued.” Though destroyed at Troy, the Trojans, fierce but true men, would rebuild elsewhere. The new city, Rome, would become the eternal city. “Of martial tow'rs the founder shall become/The people Romans call, the city Rome,” Jupiter continued. “To them no bounds of empire I assign/Nor term of years to their immortal line.”[1] The Aeneid is, in large part, a story about timeless truths, and the great Stoic mythmaker, Virgil, is telling the ages that truth can not be destroyed. It can be forgotten, ignored, or even perverted, but it could never fully cease to exist. For truth to cease to exist, the world would cease to exist. Instead, almost buried, the truth can be replanted in new soil. And, though the wheat will grow with the tares, the wheat will still grow, waiting to be fed, watered, protected, and, ultimately, harvested.

Almost nineteen centuries after the siege of Troy, Representative John Quincy Adams stood in New York City and praised the first president of the United States, who had earned the reputation of being a new Cato the Younger, a new Aeneas, and a new Cincinnatus.[2] Indeed, at the time of his death in 1799, Washington was the most famous man in the western world. In his 1839 speech, Adams invoked the image of the first president of the United States as the Virgilian hero, but with a vitally important twist.

Would it be an unlicensed trespass of the imagination to conceive that on the night preceding the day of which you now commemorate the fiftieth anniversary—on the night preceding that thirtieth of April, 1789, when from the balcony of your city hall the chancellor of the State of New York administered to George Washington the solemn oath faithfully to execute the office of President of the United States, and to the best of his ability to preserve, protect, and defend the constitution of the United States—that in the visions of the night the guardian angel of the Father of our Country had appeared before him, in the venerated form of his mother, and, to cheer and encourage him in the performance of the momentous and solemn duties that he was about to assume, had delivered to him a suit of celestial armor—a helmet, consisting of the principles of piety, of justice, of honor, of benevolence, with which from his earliest infancy he had hitherto walked through life, in the presence of all his brethren; a spear, studded with the self-evident truths of the Declaration of Independence; a sword, the same with which he had led the armies of his country through the war of freedom to the summit of the triumphal arch of independence; a corselet and cuishes of long experience and habitual intercourse in peace and war with the world of mankind, his contemporaries of the human race, in all their stages of civilization; and, last of all, the Constitution of the United States, a shield, embossed by heavenly hands with the future history of his country?[3]
With almost perfect harmony, Adams mythologized Washington by combining the Virgilian, Stoic heroism as embodied by The Aeneid with the admonitions of St. Paul to arm oneself with the weaponry of Christ in the fight against evil.[4] Washington took the best of the western tradition and planted it on the banks of the Potomac, just has Aeneas had planted it on the banks of the Tiber. America, of course, then served as the culmination of the best of the western tradition in Adams’ imagination.

Nineteenth and Twentieth-century Myth: The Particular or the Universal?
Driven by the romantic impulse as found most recently in the arguments and writings of Edmund Burke, many in the nineteenth century reacted strongly to the dry, calculated liberalism and utilitarianism of the eighteenth century by embracing myth. Many of these myths proved specifically nationalist, providing a glue for the emerging nation states of that century. One can find the most blatant of the nationalist myths in Finland and in Germany. In Finland, for example, hoping to unify his people, Elias Lönnrot compiled the Finnish Kalevala. While Lönnrot’s vision proved benign, the German project did not. In Germany, both Richard Wagner and Friedrich Nietzsche attempted to create a uniquely German myth by paganizing the origin and character of the emerging nation state. In his diary, Wagner recorded “I am the most German being, I am the German spirit. . . . But what is this German? It must be something wonderful, mustn’t it, for it is humanly finer than all else? Oh heavens! It should have a soil, this German! I should be able to find my people! What glorious people it ought to become.”[5] Seventeen years earlier, Wagner had embraced a form of universalism, socialism for all of mankind.

I [revolution] will destroy every wrong which has power over men. I will destroy the domination of one over the other, of the dead over the living, of the material over the spiritual, I will shatter the power of the mighty, of the law of property. Man’s master shall be his own will, his own desire his only law, his own strength his only property, for only the free man is holy and there is naught higher than he. Let there be an end to the wrong that gives one man power over millions. . . since all are equal I shall destroy all dominion of one over the other.[6]
Wagner successfully combined these two things—universal socialism and a pure German character (according his lights)—in his four-part grand opera, The Ring. Inspired by an era earlier than the then nineteenth-century divide between Lutheran north and Catholic south, Wagner embraced the pre-Judeo-Christian pagan myth of the Ring of the Niebelung and the Scandinavian Poetic Edda and the Volsunga, portraying the gods to be malicious and manipulative fools who deserved death. Wagner, English philosopher Roger Scruton explains, “proposed man as his own redeemer and art as the transfiguring rite of passage to a higher world.”[7] Certainly, the death of Siegfried, leading to the fiery consumption of Valhalla in Wagner’s re-write, strongly suggests the apotheosis of man.



During the 1950’s, ‘60’s, and ‘70’s at least 90% of the Illuminati’s trauma-based mind-controlled slaves were subjected to watching Disney’s Fantasia film in order for them to build the foundational imagery of the mind-control. Child mind-control victims had their eyes taped open, and then sat one-on-one with their primary programmers so that the programmers could give the scripts as the child watched Disney’s Fantasia over and over.

What made Fantasia unique as a programming tool is that it had almost everything the programmers needed to create the foundational imagery for their trauma-based mind-control. To build a dependable alter system means that the worlds need a solid foundation. Fantasia has provided the means to get a solid foundation for the internal worlds that the Illuminati slaves build in their mind. It is also a masterpiece in coordinating color and music.

The Disney film Fantasia which premiered on Nov. 13, 1940 (at Broadway Theater in NYC) was a financial disaster as a movie, but was an Illuminati programming masterpiece. The film was released to theaters in ‘40, ‘46, ‘56, ‘63, ‘69, ‘77, ‘82, ‘85, ‘90 in order to catch every generation of children. The video was released in 1991.

During programming much of the child slave’s mind will watch the film. One particular part (alter) will be forced to memorize everything in the film. This small part (small alter) is well hidden in each victim’s mind. This small alter, who has a vivid and total recall of the film Fantasia, is locked carefully away so that ONLY an access code will pull him/her up. Watching the videotape Fantasia is not going to pull this alter up. The programmers pull this alter up when they have a clean slate alter.

When they are taking a clean slate of the mind, they will pull the clean part up and have the alter who has memorized Fantasia throw its memory onto an internal big screen.

The internal Outer space (aka Rubicon) is shaped like an amphitheater, and functions as a big vast screen for replay. There is an internal ball or sun created via the lighting effect of the movie Fantasia, so that the movie appears projected in the mind as on a globe.

And the Fantasia film images hit this internal globe and go circular in the mind and spin through the system. The programmer will then say to the new part,


In this fashion, Fantasia has provided the programmers with their primary tool for taking a dissociated clean slate part of the mind, and manipulating it to become a new workable part within the system. The young part that holds the entire Fantasia memory is strategically placed in the system so that it can be called up from anyplace in the system.

No matter where the programmer is working in the system, he can access this small alter whose function is to remember the movie. Most of the system will go into a trance sleep if shown the movie. The front (as well as most of the system’s alters) will be totally amnesic to having ever seen the movie. Since the programming put in with Fantasia is so fundamental it should come as no surprise that the programmers have done an excellent job in protecting this programming from everyone, including the slave.

Abreacting the film for many alters could rip the system apart, because after the film is memorized severe trauma begins to be overlaid and attached to the film. There may be some small alters that still carry tiny bits and pieces of memory of the movie, but only one will really remember it.


The Secret Document That Transformed China

In 1978, the farmers in a small Chinese village called Xiaogang gathered in a mud hut to sign a secret contract. They thought it might get them executed. Instead, it wound up transforming China's economy in ways that are still reverberating today.

The contract was so risky — and such a big deal — because it was created at the height of communism in China. Everyone worked on the village's collective farm; there was no personal property.

"Back then, even one straw belonged to the group," says Yen Jingchang, who was a farmer in Xiaogang in 1978. "No one owned anything."

At one meeting with communist party officials, a farmer asked: "What about the teeth in my head? Do I own those?" Answer: No. Your teeth belong to the collective.

In theory, the government would take what the collective grew, and would also distribute food to each family. There was no incentive to work hard — to go out to the fields early, to put in extra effort, Yen Jingchang says.

"Work hard, don't work hard — everyone gets the same," he says. "So people don't want to work."

In Xiaogang there was never enough food, and the farmers often had to go to other villages to beg. Their children were going hungry. They were desperate.

So, in the winter of 1978, after another terrible harvest, they came up with an idea: Rather than farm as a collective, each family would get to farm its own plot of land. If a family grew a lot of food, that family could keep some of the harvest.


Murphy's Law Calculator

Find out in advance whether you will be able to successfully repair your VCR, get to a meeting on time, impress your date, or be a success at any activity whatsoever !


Yílmaz Güney Revolutionary cinema in Turkey - by Dennis Giles and Haluk Sahin

from Jump Cut, no. 27, July 1982, pp. 35-37
copyright Jump Cut: A Review of Contemporary Media, 1982, 2005

Turkey is distinct among Third World countries in that it was never ruled by a colonial power. During the last two centuries of its existence, the Ottoman Empire was dominated by the West economically, but it never became a cultural or political colony. The political experience of the Turkish Republic is also rather distinct. In contrast to much of the Third World, multi-party democracy has become the rule — not the exception — of Turkish government since 1946, interrupted only briefly by military regimes (1960-61, 1971-73, 1980-).

The 1960s saw a rapid transformation of both the economy and social life. This was echoed by a vigorous intellectual debate concerning the directions and goals of both the economic base and the ideological formations (e.g., politics, literature, cinema) of Turkish society. The decade was dominated by a massive influx of international capital, a rapid increase in urbanization, and a political enfranchisement of the masses according to the liberal terms of the 1961 Constitution. Between 1960 and 1970, urban population increased by 5 million. Most of these migrants lived as squatters in shantytowns (Gecekondus) surrounding the old city centers.(1)

During this period of economic boom, social mobility and the rise of labor unions, the ruling Justice Party and its leader Demirel attempted to represent the interests of a bourgeoisie divided between those who favored big industry — international capital — and the "numerically vast sector of petty capitalists. The latter were unorganized, politically volatile, “savage” in their pursuit of profits, and exploited the shanty towns to gain their pool of unskilled labor.(2) Faced with the inescapable reality of rapid social change, the Turkish intelligentsia debated the strategies and tactics of “development," utilizing Marxist models (among others) to comprehend the upheaval of economic and cultural life.(3) Both the left and the Islamic right expressed dissatisfaction with models of development imported/ imposed from the Western industrial societies, as well as with the ideologies which accompanied Westernization. Each political and cultural wing sought to define the role of the artist in the task of reflecting and criticizing the social realities of development. How, they asked, should one speak to and for the economically marginal inhabitants of the crowded shantytowns fighting for the crumbs spilled from the central city? How could the artist express both the dilemma and the revolutionary potential of the masses while yet inspiring them to become a legitimate political force?

In the arena of cinema, the question of the ideological role of the artist was first articulated by the loosely organized National Cinema group, which effectively dominated the practice of serious Turkish film in the late 1960s/ early 1970s. In opposition to the program of National Cinema, a group of critics affiliated with the Turkish Cinematheque called for a radical cinema committed to social change. Unlike the practicing filmmakers of the National Cinema group, the members of this Revolutionary Cinema movement were at first outsiders to the industry, with no real access or control over the actual production of cinema. The conflict between these two groups extended to cinema a larger debate among intellectuals concerning the Turkish historical experience and economic structure.

Marx had pointed out that the ancient, feudal, and capitalist modes of production were basically European phenomena, that they were not necessarily applicable to non-European societies. In Asia, Marx found an ancient and enduring production, characterized by the absence of private land ownership. Although he never analyzed this Asiatic mode of production in detail, Marx suggested that in comparison with Europe, the historical process in Asia (and the Ottoman Empire) had developed along very different lines.(4)


Project for a walk to Jerusalem for peace

Faced with the inability of the powers that be to enforce the rights to self determination of Palestinians, other than their persistent focus on profit that results in their continued permanent oppression, a group of people are marching from Nice to Athens together with people from all over the world present at the Rome Agora, are calling for a to walk to Jerusalem for peace.

A broad platform will be created to enable a participatory process for the creation of this project, which will be submitted to the Agora of Athens upon the arrival of the marchers.


Tens Of Thousands Protest Turkey Court Decision In Journalist Killing

Tens of thousands took to the streets of Istanbul to protest a court decision not to widen the investigation into the murder of a Turkish-Armenian journalist five years ago. The court assigned guilt to several nationalists deemed responsible for the killing of Hrant Dink, but decided the prosecution did not present enough evidence that there was an illegal organization behind the murder. The investigation shied away from exploring the suspected role of some nationalist police and military officials.

Dink, the editor of a Turkish-Armenian newspaper, wrote critically about Turkey’s treatment of its Armenian ethnic minority, and particularly about the killing of more than 1 million Armenians by the Ottoman army in 1915 which he and others considered genocide, a term that is hotly contested. The advocacy group Committee to Protect Journalists’ (CPJ) research demonstrated widespread nationalist threats leading up to Dink’s murder on the front steps of his paper.

The protests were the largest in Turkey in years.


Let it Come Down: The Life of Paul Bowles

One of the most enigmatic artists of the 20th century, writer, composer and wanderer Paul Bowles (1910-1999) is profiled by a filmmaker who has been obsessed with his genius since age nineteen. Set against the dramatic landscape of North Africa, the mystery of Bowles (famed author of The Sheltering Sky) begins to unravel in Jennifer Baichwal's poetic and moving Let It Come Down: The Life of Paul Bowles. Rare, candid interviews with the reclusive Bowles--at home in Tangier, as well as in New York during an extraordinary final reunion with Allen Ginsberg and William Burroughs--are intercut with conflicting views of his supporters and detractors. At the time in his mid-eighties, Bowles speaks with unprecedented candor about his work, his controversial private life and his relationships with Gertrude Stein, Tennessee Williams, Truman Capote, the Beats, and his wife and fellow author Jane Bowles.

Check out: Occupy George – Money is power


Street art history is steeped in political protest work. The Occupy George group has found a simple way to convey the facts of our times. “Money talks, but not loud enough for the 99%. By circulating dollar bills stamped with fact-based infographics, Occupy George informs the public of America’s daunting economic disparity one bill at a time. Because money knowledge is power.” We just hope that the Treasury Department doesn’t take too much notice.

All images courtesy of Occupy George.


Dave Emory: The CIA, The Military & Drugs

Recorded April 26,1987 1987. Part 5 of 5..

Dave Emory and Nip Tuck.


Begin­ning with the CIA's research into LSD as part of its inves­ti­ga­tion of mind con­trol tech­niques, this broad­cast high­lights the pro­found role of the intel­li­gence com­mu­nity in the dis­sem­i­na­tion of hal­lu­cino­gens and the devel­op­ment of the recre­ational cul­ture attached to their use.

The CIA and mil­i­tary exper­i­mented with the drug (LSD) in a vari­ety of clin­i­cal and social envi­ron­ments. In addi­tion to pro­duc­ing psy­chotic and (in some cases) lethal results, this exper­i­men­ta­tion also served to infil­trate the drug into intel­lec­tual and pop­u­lar cul­ture. Writ­ers Aldous Hux­ley, Ken Kesey and Allen Gins­berg were intro­duced to the drug (directly or indi­rectly) through the national secu­rity establishment's LSD exper­i­men­ta­tion programs.

Tim­o­thy Leary's early research into LSD was sub­si­dized, to some extent, by the CIA. Later, Leary's LSD pros­e­ly­ti­za­tion was greatly aided by William Mel­lon Hitch­cock, a mem­ber of the pow­er­ful Mel­lon fam­ily. The financ­ing of the Mellon-Leary col­lab­o­ra­tion was effected through the Cas­tle Bank, a Caribbean oper­a­tion that was deeply involved in the laun­der­ing of CIA drug money.





Revolutionary Cycling Cinema

What is the Magnificent Revolutionary Cycling Cinema? is Simon Mullen's beautiful short documentary exploring the greenest of cinemas. Shot on Kodak 200T film stock with a Nizo 56L camera. For more see www.magnificentrevolution.org

The Global Insurrection

The utopian schemes of “globalization” and “free trade” have generated an increasingly unbalanced economic situation, weighed down with oppression, corruption and growing income inequality.


David Osagie’s Occupy Nigeria

A few weeks ago Nigeria joined the Occupy movement as Nigierian political leaders decided to go against reforms to distribute Nigeria’s oil rich economy to their citizens. Like many movements throughout Africa for the past 18months portfolio’s are now reflecting the political climate around creatives in Africa and the globe. David Osagie is a Nigerian digital artist whose work features art pieces stained in grunge and deep African style. His most recent work has been influenced by the occupy movement in Nigeria.



image from http://www.spitting-image.net

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