Showing posts with label assassination weapon. Show all posts
Showing posts with label assassination weapon. Show all posts
Sunday, 14 June 2020
Tuesday, 16 May 2017
BEND THE UNIVERSE to YOUR will.
It’s Time To Take Charge!
- ATTRACT NEW LOVERS LIKE ANTS TO SUGAR
- BRING BACK A LOST LOVE LIKE A BOOMERANG
- MAGNETIZE MONEY SO IT STICKS TO YOU LIKE GLUE AND MULTIPLIES LIKE RABBITS
- BECOME A POWERFUL LEADER AND FORCE OF NATURE IN YOUR WORKPLACE
- RADIATE CONFIDENCE AND CHARISMA LIKE A MOVIE STAR
- INFLUENCE OTHERS TO DO YOUR BIDDING AND HAVE THEM BEGGING TO SERVE YOU
- INSTIGATE LUST IN THE OPPOSITE SEX…TO THE POINT THAT THEY LOSE CONTROL…
AND MUST HAVE YOU - ATTRACT FRIENDS AND FOLLOWERS WITH THE GRAVITATIONAL FORCE OF A STAR
- ENHANCE OR INFLUENCE ANYTHING BY INCREASING THE PROBABILITY OF ANY OUTCOME
- MANIFEST YOUR DEEPEST DESIRES AND TAKE CONTROL OF THE LAW OF ATTRACTION
Friday, 2 August 2013
Of course, the pictures would show.
I want to tell you, you may not be aware of it yourself, but I want to
tell you that your film has been one of the most helpful things to the
work of the Commission that we could possibly have had because it has
enabled us to study the various positions of the people in the car and
to determine by comparing it with the reenactment--by comparing it to
the view from the window of the building, to develop with a fair degree
of accuracy the facts here.
testimony
testimony
Googolplex
http://mcadams.posc.mu.edu/russ/testimony/snyder.htmhttp://mcadams.posc.mu.edu/russ/testimony/snyder.htm
| 5 | 6H | 7He | 8Li | 9Be | 10B | 11C | 12N | 13O | 14F | Ne | 11 | ||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| 6 | 7H | 8He | 9Li | 10Be | 11B | 12C | 13N | 14O | 15F | 16Ne | Na | 12 | |||
| 7 | 9He | 10Li | 11Be | 12B | 13C | 14N | 15O | 16F | 17Ne | 18Na | Mg | 13 | |||
| 8 | 10He | 11Li | 12Be | 13B | 14C | 15N | 16O | 17F | 18Ne | 19Na | 20Mg | Al | 14 | ||
| 9 | 12Li | 13Be | 14B | 15C | 16N | 17O | 18F | 19Ne | 20Na | 21Mg | 22Al | Si | |||
.jpg)
Thoracic Drop
The spinal landscape, revealed at the level of T-12, is that of Teneriffe, and of the native of the Canaries, Oscar Dominguez, who created the technique of decalcomania and so exposed the first spinal landscape. The clinker-like rock-towers, suspended above the silent swamp, create an impression of profound anguish.
Here in this terminal hut,
he began to piece together some sort of existence. Inside the hut he found a set of psychological tests, out of curiosity he ran them on himself. Although he had no means of checking them, his answers seemed to establish an identity. He went on to forage, and came back to the hut with some documents and a coke bottle.
At times when Xero approached the forlorn group sitting on the embankment, his shadows formed bizarre patterns on the concrete, transcripts of cryptic formulae and insoluble dreams. These ideograms, like the heiroglyphs of a race of blind seers, remained on the grey concrete after Xero had gone, the detritus of this terrifying psychic totem.
To begin with she wants to spend all her time writing poems on the damaged typewriter. Later, when not writing the poems, she wanders away to an old solar energy device and loses herself in the maze of mirrors.
All sorts of rubbish is lying in the sand: a typewriter with half the keys missing (he picks out fragmentary sentences, sometimes these seem to mean something), a smashed neurosurgical unit (he pockets a handful of leucotomes, useful for self-defence). Then he cuts his foot on the coke bottle, and spends several feverish days in the hut. Luckily he finds a drill for trainee astronauts, half of an 80 hour sequence.
At times when Xero approached the forlorn group sitting on the embankment, his shadows formed bizarre patterns on the concrete, transcripts of cryptic formulae and insoluble dreams. These ideograms, like the heiroglyphs of a race of blind seers, remained on the grey concrete after Xero had gone, the detritus of this terrifying psychic totem.
To begin with she wants to spend all her time writing poems on the damaged typewriter. Later, when not writing the poems, she wanders away to an old solar energy device and loses herself in the maze of mirrors.
All sorts of rubbish is lying in the sand: a typewriter with half the keys missing (he picks out fragmentary sentences, sometimes these seem to mean something), a smashed neurosurgical unit (he pockets a handful of leucotomes, useful for self-defence). Then he cuts his foot on the coke bottle, and spends several feverish days in the hut. Luckily he finds a drill for trainee astronauts, half of an 80 hour sequence.
The Terminal Zone
He lay on the sand with the rusty bicycle wheel. Now and then he would cover some of the spokes with sand, neutralising the radial geometry. The rim interested him. Hidden behind a dune the hut no longer seemed a part of his world. The sky remained constant, the warm air touching the shreds of test papers sticking up from the sand. He continued to examine the wheel. Nothing happened.
But isn't Kennedy already dead?
Captain Webster studied the documents laid out on Dr. Lancaster's demonstration table. These were:
(1) a spectroheliogram of the sun;
(2) tarmac and takeoff checks for the B29 Superfortress Enola Gay;
(3) electroencephalogram of Albert Einstein;
(4) transverse section through a Pre-Cambrian Trilobite;
(5) photograph taken at noon, August 6, 1945, of the sand-sea, Qattara Depression, Libya;
(6) Max Ernst's "Garden Airplane Traps".
(1) a spectroheliogram of the sun;
(2) tarmac and takeoff checks for the B29 Superfortress Enola Gay;
(3) electroencephalogram of Albert Einstein;
(4) transverse section through a Pre-Cambrian Trilobite;
(6) Max Ernst's "Garden Airplane Traps".
Friday, 26 July 2013
just what is it...
...a convincing vision of the future that lay ahead - the muscleman husband and his stripper wife in their suburban home, the consumer goods, such as the tin of ham, regarded as ornaments in their own right ... we are what we sell and buy.
ballard / miracles of life / this is tomorrow 1956
war machine and christy mack
links
A Psychopathic Hymn:
J.G. Ballard's 'Crashed Cars' Exhibition of 1970
Passings – J. G. Ballard: Philosopher of the Future Present
Jim Haynes / Arts Lab
Re: They're four hundred feet high
Posted by: "stwrtmckenzie"
Date: Sun Jul 30, 2006
Not one of the people, the person. I put it together with people from the Human Family, an English version of the Living Theater, working out of the Arts Laboratory under the exuberant patronage of Nigel Samuel, and students from one of the London theater colleges who provided actors and early multi-media technicians. We put on a demo at the ICA and Ballard came to see it, he loved it and invited me to join him in a video about the sexuality of car crashes which, I confess, sounded unappealing. It was performed at the ICA for about a week with the title "The Assassination Weapon, A Transmedia Search for Reality" some time in 1968 or 1969. It was performed a couple of times after that at the Regent Street Polytechnic School of Architecture and The Architectural Association. The show took Ballard's text from The Assassination Weapon with early analog electronic distortion and music, and played this back in surround streo around a vertical circular screen, about ten feet in diameter, which revolved slowly at the center of circles of concentric seats separated by four access corridors at the four cardinal points. The fire marshal required that the seats be fixed and I spent four days stapling chairs to a perfect hardwood floor, to the horror of my ICA minder. Once the audience was seated, the recording of The Assassination Weapon was played back and four projection tables shooting down the access corridors combined images on the revolving screen which could take front and back projection. I asked Jack Henry Moore, then the director of the Human Family, for a recommendation for the material for this screen, he recommended bed linen soaked in Parrafin (a flamable liquid), he said it took back projection beautifully. I decided that, after the trouble with the chairs, I would not go to the mat with the fire marshal on this one, it was a white plastic. The projection tables had a variety of image and light emitting parephanalia, still and movie projectors, boiling liquids (this was the sixties), rotating color filters. strobes, smoke machines, etc. There was an image script but some room for improvisation to exploit happy coincidences on the screen which could become quite complex since, in addition to the front and back projection, the sides of screen segments (it was made up of six pizza slices bolted together) caught projections as the screen rotated, introducing lines of color and fragments of images into the main projection. The English humor magazine "Punch" found it "Puzzling", the English manners magazine "The Lady" found it "Trying". We played to full houses at every performance. London was fun back then.
Posted by: "stwrtmckenzie"
Date: Sun Jul 30, 2006
Not one of the people, the person. I put it together with people from the Human Family, an English version of the Living Theater, working out of the Arts Laboratory under the exuberant patronage of Nigel Samuel, and students from one of the London theater colleges who provided actors and early multi-media technicians. We put on a demo at the ICA and Ballard came to see it, he loved it and invited me to join him in a video about the sexuality of car crashes which, I confess, sounded unappealing. It was performed at the ICA for about a week with the title "The Assassination Weapon, A Transmedia Search for Reality" some time in 1968 or 1969. It was performed a couple of times after that at the Regent Street Polytechnic School of Architecture and The Architectural Association. The show took Ballard's text from The Assassination Weapon with early analog electronic distortion and music, and played this back in surround streo around a vertical circular screen, about ten feet in diameter, which revolved slowly at the center of circles of concentric seats separated by four access corridors at the four cardinal points. The fire marshal required that the seats be fixed and I spent four days stapling chairs to a perfect hardwood floor, to the horror of my ICA minder. Once the audience was seated, the recording of The Assassination Weapon was played back and four projection tables shooting down the access corridors combined images on the revolving screen which could take front and back projection. I asked Jack Henry Moore, then the director of the Human Family, for a recommendation for the material for this screen, he recommended bed linen soaked in Parrafin (a flamable liquid), he said it took back projection beautifully. I decided that, after the trouble with the chairs, I would not go to the mat with the fire marshal on this one, it was a white plastic. The projection tables had a variety of image and light emitting parephanalia, still and movie projectors, boiling liquids (this was the sixties), rotating color filters. strobes, smoke machines, etc. There was an image script but some room for improvisation to exploit happy coincidences on the screen which could become quite complex since, in addition to the front and back projection, the sides of screen segments (it was made up of six pizza slices bolted together) caught projections as the screen rotated, introducing lines of color and fragments of images into the main projection. The English humor magazine "Punch" found it "Puzzling", the English manners magazine "The Lady" found it "Trying". We played to full houses at every performance. London was fun back then.
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