Jack White Wrote:Charles...there are NUMEROUS PROOFS OF CONSPIRACY in the JFK
case...none dependent on others. The Zfilm fakery is JUST ONE of them.
Let's not exclude it because there are lots of others.
Jack
Jack,
I'm super-cautious when dealing with Z-film alteration arguments because of the public relations factor.
When we attempt to demonstrate the proof of conspiracy to honorable, open audiences, we are best served by presenting evidence that has endured over time, is relatively simple to explain, and is impossible to refute honestly.
Compared to expositions of the conspiracy-proving demolition of the SBT and the condition of the brain and skull, Z-film alteration arguments are relatively complex and demanding. And to be fair, while I lean heavily toward acceptance of the alteration hypothesis as valid, I remain unconvinced of its value as a weapon in our struggle to disseminate the conspiracy truth to the uninitiated.
George Michael and I disagreed on alteration: He fully accepted it as true, while then, as now, I'm not quite there.
But in all honesty, my hesitation has more to do with my reluctance to embrace alteration as a p.r. tool than with any problems with the hypothesis on its own merits.
Myra Bronstein Wrote:Question first--who is the motorcycle cop to the limo's right rear in the Moorman photo (attached)?
It would have to be Douglas L. Jackson, from whom almost nothing is heard subsequently, save for a brief telephone interview for Newcomb and Adams' Murder From Within, conducted in, I think, 1971.
Paul
PS Try matching the configuration of Jackson and Chaney, as recorded in Altgens "6", with the Z and other films. It's quite a t®ask!
Jack White Wrote:Charles...there are NUMEROUS PROOFS OF CONSPIRACY in the JFK
case...none dependent on others. The Zfilm fakery is JUST ONE of them.
Let's not exclude it because there are lots of others.
Jack
Jack,
I'm super-cautious when dealing with Z-film alteration arguments because of the public relations factor.
When we attempt to demonstrate the proof of conspiracy to honorable, open audiences, we are best served by presenting evidence that has endured over time, is relatively simple to explain, and is impossible to refute honestly.
Compared to expositions of the conspiracy-proving demolition of the SBT and the condition of the brain and skull, Z-film alteration arguments are relatively complex and demanding. And to be fair, while I lean heavily toward acceptance of the alteration hypothesis as valid, I remain unconvinced of its value as a weapon in our struggle to disseminate the conspiracy truth to the uninitiated.
George Michael and I disagreed on alteration: He fully accepted it as true, while then, as now, I'm not quite there.
But in all honesty, my hesitation has more to do with my reluctance to embrace alteration as a p.r. tool than with any problems with the hypothesis on its own merits.
The following extract was posted on April 27 by Simon Shack (aka socialservice). The highlighted paragraph is every bit as applicable to Elm Street as 9/11:
Here's a little excerpt of the link provided by D.Duck :
(please, everyone. take the time to read this ! )
"Let us take just one example of how current technologies could be used for strategic-level information warfare. If, say, the capabilities of already well-known Hollywood technologies to simulate reality were added to our arsenal, a genuinely revolutionary new form of warfare would become possible. Today, the techniques of combining live actors with computer-generated video graphics can easily create a "virtual" news conference, summit meeting, or perhaps even a battle that would exist in "effect" though not in physical fact. Stored video images can be recombined or "morphed" endlessly to produce any effect chosen. This moves well beyond traditional military deception, and now, perhaps, "pictures" will be worth a thousand tanks. Imagine the effect of a nationwide broadcast in banditland of the meeting between the "digitized" maximum leader and a "digitized" Jimmy Carter in which all loyal soldiers are told to cease fighting and return to their homes. The targets of information warfare, remember, are the decisions in the opponent's mind, and the battlespace of the human mind is also the zone of illusion.
Let's play with this a bit. Through hitching a ride on an unsuspecting commercial satellite, a fictive simulation is broadcast. This may not be science fiction, and readers of Tom Clancy's latest novel Debt of Honor will suspect it's not. Simultaneously, various "info-niches" in the target state are accessed via the net. Some of the targets receive reinforcement for the fictive simulation; others receive slightly misleading variations of the target state's anticipated responses, and the whole of the opponent's military is subject to a massive electronic deception operation. What is happening here?
At the strategic level, this is the paralysis of the adversary's observation, orientation, decision, action (OODA) loop.13 The opponent's ability to "observe" is either flooded or very slightly and subtly assaulted by contradictory information and data. More importantly, his ability to "orient" is degraded by the assault on the very possibility of objective reasoning as we replace his "known" universe with our alternative reality. His "decisions" respond increasingly to our fictive or virtual universe, and, most importantly, military "actions" within his strategic structures become increasingly paralyzed as there is no rational relationship of means to ends. What he does is not based on reality because we've changed his reality. This is real war fighting. It would seem, then, that if we can develop a strategic vision and real capability for information warfare, we can bring American strategic power within sight of that elusive "acme of skill" wherein the opponent is subdued without killing as we destroy his ability to form or execute a coherent strategy. How, then, do we think about developing information warfare strategy?"
This post has been edited by socialservice on Apr 27 2009, 03:52 PM
Jack White Wrote:Charles...there are NUMEROUS PROOFS OF CONSPIRACY in the JFK
case...none dependent on others. The Zfilm fakery is JUST ONE of them.
Let's not exclude it because there are lots of others.
Jack
Jack,
I'm super-cautious when dealing with Z-film alteration arguments because of the public relations factor.
When we attempt to demonstrate the proof of conspiracy to honorable, open audiences, we are best served by presenting evidence that has endured over time, is relatively simple to explain, and is impossible to refute honestly.
Compared to expositions of the conspiracy-proving demolition of the SBT and the condition of the brain and skull, Z-film alteration arguments are relatively complex and demanding. And to be fair, while I lean heavily toward acceptance of the alteration hypothesis as valid, I remain unconvinced of its value as a weapon in our struggle to disseminate the conspiracy truth to the uninitiated.
George Michael and I disagreed on alteration: He fully accepted it as true, while then, as now, I'm not quite there.
But in all honesty, my hesitation has more to do with my reluctance to embrace alteration as a p.r. tool than with any problems with the hypothesis on its own merits.
We don't have to be in lock step. Some of us can discuss the blatant fraud that is the Z-film, while others can focus on topics that most interest them.
Jack White Wrote:Charles...there are NUMEROUS PROOFS OF CONSPIRACY in the JFK
case...none dependent on others. The Zfilm fakery is JUST ONE of them.
Let's not exclude it because there are lots of others.
Myra Bronstein Wrote:Question first--who is the motorcycle cop to the limo's right rear in the Moorman photo (attached)?
It would have to be Douglas L. Jackson, from whom almost nothing is heard subsequently, save for a brief telephone interview for Newcomb and Adams' Murder From Within, conducted in, I think, 1971.
Paul
PS Try matching the configuration of Jackson and Chaney, as recorded in Altgens "6", with the Z and other films. It's quite a t®ask!
While I am certain that the Zapruder film has been altered, I'm unconvinced that these images show it. Isn't James M. Chaney's motorcycle 5-10" behind President Kennedy's limo? Wouldn't that place him outside of the Zapruder image, possibly where that white rectangular artifact is?
Thanks for taking the time and trouble with the photos, Myra. Now, to your question: He was assigned to the right rear, but as the Altgens photo shows, the slow speed of the presidential limo saw him move alongside it, then overtake it. ...
Paul, et al,
Do you know if Chaney is visible in the attached photo?
While I am certain that the Zapruder film has been altered, I'm unconvinced that these images show it. Isn't James M. Chaney's motorcycle 5-10" behind President Kennedy's limo? Wouldn't that place him outside of the Zapruder image, possibly where that white rectangular artifact is?
Thanks for taking the time and trouble with the photos, Myra. Now, to your question: He was assigned to the right rear, but as the Altgens photo shows, the slow speed of the presidential limo saw him move alongside it, then overtake it. ...
Paul, et al,
Do you know if Chaney is visible in the attached photo?
Unlikely, but can't say for sure. Do have a look at this thread, though, there's a lot of very useful material, from additional testimony from Jackson (courtesy of Pat Speer), to Len Colby's spectacularly convenient little graphic - oh, and, beneath the link, a splendid rejoinder to said illustration, one capable of extracting a smile after even the crappiest day at work. We really should locate the man responsible & invite him to participate.
Paul Rigby Wrote:How easy is to the prove the Zapruder film's fraudulence? Surprisingly so.
Moorman’s photograph of the presidential limousine on Elm.
It is instanced here to show Zapruder’s alleged position & line of sight; and the height of the motorcycle outriders relative to the presidential limousine and the height of its occupants.
This photo is held by anti-alterationists to correspond to Z315-6.
Now for Commission Exhibit 698, a photo taken from a height many times that of Zappy on the pedestal overlooking Elm. Note the position of the motorcycle outriders, and how a camera position much more elevated than Z's struggled to clear the police outriders to give an unimpeded view of the limousine's occupants. The horizontal distances from camera to presidential limo are not that far apart:
How the forgers resolved the Chaney problem is pretty obvious from the most cursory inspections of the Z main bill and its supporting acts: in the former, they removed progressively more of the foreground (the street and the north curb of Elm); and commenced the latter after the moment captured in Altgens' still.
