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Offline sandokhan

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Nasa Fake Space Program
« : Martie 17, 2008, 08:02:11 p.m. »
Cea mai completa documentatie pe tema falsificarii misiunilor spatiale Nasa...

De la bun inceput, programul a fost organizat de rosicrucieni; Jack Parsons (fondatorul JPL, care insemna Jack Parsons Lab; mai tarziu schimbat in Jet Propulsion Laboratory) si Kenneth Kleinknecht.


'The most recent display in the House of the Temple is the Kenneth S. Kleinknecht Exhibit. Illustrious Brother Ken, as an aeronautical research scientist, played a key role in many NASA projects and was the manager of Project Mercury, America's first manned space flight program. Brother Ken was also an essential member of the Gemini, Apollo, Skylab, and Columbia space shuttle missions.'



Cele mai bune informatii despre falsificarea misiunilor Apollo:





Alte doua site-uri deosebite:



Machetele folosite pentru suprafata Lunii:



Simboluri masonice la Nasa:

Astronautii Apollo, toti masoni:

American Astronauts


ASTRONAUTS: Ed Aldrin, Neil Armstrong, Gordon Cooper, Don Eisle, Virgil Grissom, Ed Michell, Tom Stafford, Fred Haise, and Wally Shirra.


Edwin E. 'Buzz' Aldrin, Jr. - American Astronaut; Neil Armstrong - American Astronaut; first to walk on the moon; Gordon Cooper; Don Eisele; John H. Glenn - First American Astronaut to orbit in space; Virgil Grissom - American astronaut; Fred Haise; Edgar Mitchell; Wally Schirra; Thomas Stafford; James Webb;Paul Weitz

Cateva din documentele de exceptie despre cum a fost falsificat programul Apollo (regizat de Stanley Kubrick):

(Apollo 16, arata cum astronautii erau suspendati de cabluri, filmati slow-motion; spre final, unul dintre acesti astronauti se impiedica si cade jos fiind apoi tras din spate de doua fire care pot fi vazute...)

(Apollo 11, o poza cu Pamantul lipita de hublou, lumina stinsa si apoi filmata si oferita publicului ca fiind o inregistrare in spatiu a echipajului; film recuperat din arhivele Nasa, marcate cu Not For Public Use; doar cateva minute au fost prezentate, apoi, pentru massmedia)

Toti astronautii Apollo si Space Shuttle au fost masoni din diverse loji...Dumitru Prunariu, rosicrucian de gradul 32:


Despre deadly radiation beyond the Van Allen belts, un site formidabil:





Din cauza radiatiei Van Allen belts care se afla la doar 25-30 km inaltime fata de Pamant, nu se poate ajunge in spatiu CU O RACHETA, DOAR CU UN UFO...toate misiunile Viking, Gemini, Voyager, Apollo SUNT FAKE SI FALSE, de asemenea povestile masonului R. Hoagland re: piramida INEXISTENTA de pe Marte...

DOVEZI INCONTESTABILE (FOARTE BINE DOCUMENTAT) DESPRE FELUL CUM NASA MANIPULEAZA CHIAR IN DIRECT SI MASLUIESTE IMAGINILE DE SATELIT DESPRE TRAIECTORIA UNOR CORPURI CERESTI...ceea ce autorul articolului nu se intreaba este daca nu cumva TOATE imaginile sunt falsificate (vezi si sectiunea Satellite Conspiracy):



Conducerea Nasa avea la dispozitie hardware si software inca de la sfarsitul anilor '60 pentru a falsifica/truca toate misiunile Voyager, Viking, Galileo si restul.

1960 - Advanced Technology / National Security Agency - Early 1960s: '[....] As of the early 1960's the most advanced computers in the world were at the NSA, Ft. Meade. Research breakthroughs with these computers were kept for the NSA. At the present time [+2000] the NSA has advanced technology computers that are 15 years ahead of present computer technology. [....] NSA Signals Intelligence uses EMF Brain Stimulation for Remote Neural Monitoring (RNM) and Electronic Brain Link (EBL). EMB Brain Stimulation has been in development since the MK Ultra program of the early 1950's which included neurological research into 'radiation (non-ionizing EMF) and bioelectric research and development. The resulting secret technology is categorized at the National Security Archives as 'Radiation intelligence' defined as 'information from unintentionally emanated electromagnetic waves in environment, not including radioactivity or nuclear detonation.' Signals Intelligence implemented and kept this technology secret in the same manner as other electronic warfare programs of the U.S. government. The NSA monitors available information about this technology and withholds scientific research from the public. There are also international intelligence agreements to keep this technology secret. [....]' Also, consider that stealth aircraft technology actually began with the SR71 back in the sixties. I think the first time that the public heard of stealth technology was in the late eighties.

In 1975 the most advanced processor speeds, on the most classified projects were equivalent to a IBM 8088 which ran at 4 million cycles per seconds. This unit had a processor speed of 1 billion cycles per second. It wasn’t until more than a dozen years had passed before I saw comparable technology with integrated circuit chips. Then it was at a Top Secret avionics development project at ITT.

Iata si un site care explica dezvoltarea tehnologica secreta din anii 60, din USA, prin NSA/NASA/JPL...secret government technology...


As of the early 1960's the most advanced computers in the world were at the NSA, Fort Meade. Research breakthroughs with these computers were kept for the NSA. At the present time the NSA has advanced technology computers that are 15 years ahead of present computer technology.

How did they fake so many trips to Venus and Saturn, Mars, etc.?

Well, one day around 1978 I was also wondering the same thing myself. I had seen the pictures of Saturn and it's rings and moons and I was also wondering, wow, 10's of 1,000's of electronic photos were being transmitted from, what was it, Voyager?. I kept wondering, How? Of course, they could just be models and photos were taken. But, then, one day, just after Star Wars II came out and Star Trek the movie (# 1) came out I had got hold of a movie industry magazine that was called Business Pictures. In it were ads from special effects companies who work for Hollywood. This was the dawn of computer graphics being used in motion pictures. Star Wars I was made using mostly models, but, after Star Wars I, George Lucas used some of the profits to set up a new lab called Pixar, which strove to push the technology and create stunning effects using state of the art Computer Workstations. CG, or Computer Graphics. I was looking at some of the ads and articles in the magazine and I found a peculiar one. Unfortunately I do not recall the name of the company running the ad. But, they were selling computer graphics 'programming', not a finished program, but the algorythms and 'basic mathematical building blocks' used to create a program. What they claimed to be was a company that does contract work for JPL, NASA and the military. What they were selling were the software foundations and routines that did texture mapping and perspective, surface reflection, shadow mapping, etc. Then, what really caught my eye and peaked my interest was that the ad stated that the information they were selling had been developed over 10 years prior by NASA and the US military and had, up until now, been considered highly classified and secret information. With this technology and the use of super computers they claimed it was possible to create virtually any special effects scene. The reason given that the information was now being declassified and being offered for sale was that the movie industry (specifically the work done by Lucas's Pixar team - which became the foundation for Industrial Light and Magic, the premiere computer graphics company of the entire industry), had begun to catch up with the secret technology and it was decided there was no longer any reason to keep the information classified.

Wow. The same technology that helped to produce the visual effects of space, planets, and space crafts used for Star Wars II and Star Trek I had been developed and used by NASA and JPL for over 10 years earlier. That would mean that NASA and JPL had the ability to create virtual reality graphics effects as early as the late 1960's. Texture mapping, shadow mapping, light reflection, etc. Then I instantly realized how JPL was turning out 10's of 1,000's of electronic photos of Saturn and space. They had CG technology for a long time before Hollywood finally caught up and learned how to do it. The 'fly-by' probes that mapped Venus and Saturn, etc. all sent back to earth electronic data and photos. It was feasible to generate all of this on computer. JPL had at it's disposal the fastest and most powerful super-computers of the day, like the Cray. All they had to do was bounce signals off a distant satellite so that the ground crews would receive real signals that they thought were coming from deep space.

Let us just wildly assume for a moment that we did not actually go to the moon yet. Let us assume, for sake of establishing our theory, that we have not sent any other missions or 'voyagers', 'probes', et al, into deep space. Let us assume that all deep space missions and explorations were 'faked'. That would pose a flood of many questions, but, lets approach several major questions this would raise: Like, Why? Why fake the lunar landing missions? And why fake any space exploration missions that followed it? Another good question: Is the entire space program 'faked'?

Primii trei oameni de afaceri (Tito, Shuttleworth si Olsen) care au colaborat cu programul spatial rusesc (complet falsificat, de la Gagarin la Soyuz) au legaturi cu Jet Propulsion Laboratory si cu Nasa.

Marturia unei foste angajate Nasa care ne spune cum sunt falsificate si manipulate toate fotografiile Nasa inainte de a fi oferite pentru massmedia:

A NASA Cover-Up

A former employee of the National Aeronautics and Space Administration reveals how NASA covers up and erases UFOs from satelite photos. But first a little bit about this former employee: DONNA TIETZE HARE.

Formerly of NASA, female slide technician, the recipient of numerous space awards including 1969 Apollo Achievement award from the National Aeronautics & Space Administration, 1973 Skylab award, a medallion for success on the Skylab-Suez Test project, numerous other awards for her skill as a technical Artist, honors, awards and a 1994 reccomdation by Texas Governor Ann Richards to the Advisory Committee of Psychology Associates. Donna Tietze has spent most of her professional life involved in the Space Program as a technical illustrator. She drew lunar maps, landing slides, she worked in the photo lab, Precision Slide Lab, reducing art work to one inch by one inch drawings. She drew launch sites, landing sites and was employed as a sub-contractor to NASA for over 15 years. She worked on flight manuals for astronauts & has the wonderful ability to put words into images but uniquely, learn to do everything backwards, including mathematical computations, the writing of words, to put it simply, this woman has seen just about all the different kinds of images one could see that are used in Space Programs.

Donna Tietze interviewed on Washington D.C. Radio Station

The following is a partial transcript of a radio talk show that occurred 5/6/95 on WOL-AM in Washington D.C. which is simulcast on WOLB-AM in Baltimore Maryland. The show is broadcast every Saturday night at 12:00am. The show is called 'UFOs Saturday Night'. The guests on that date were Stanley McDaniels, author of the McDaniel Report, Erol Toron, a cartographer and who provided valuable information for Richard Hoagland in preparing his book, 'The Monuments Of Mars'. Also on the program was keith Morgan, Dan Drazon and Donna Tietze, a former employee of NASA in Houston, Texas. The transcript was transcribed by Donald Ratsch, 'Operation Right To Know' (ORTK) from an audio recording of the show. Elaine Douglass (ORTK) host of the show:

Elaine Douglass: This is Elaine Douglass, WOL News-Talk Network, our show is UFOs Saturday night and here in the studio with Keith Morgan and our topic is the Face On Mars. We have a new guest on the air with us, Donna Tietze. Donna, you are also with three scientists who are on the air with us and that would be Stan McDaniels from California, Erol Toron from the east coast and Dan Drason whose in Colorado. The reason that I asked Donna to come on the show, Donna is in Houston, Texas and kind enough to join us tonight to tell us some very interesting things she observed while working at NASA. Donna is an educator and she is working on her Masters in Education. In the past Donna, as I understand it you held a position for 15 years with a contractor at the NASA Johnson Space Center in Houston. You were a photo technician?

Donna Tietze: Correct!

E.D.: Donna welcome to UFOs Saturday Night. Tell me and tell everyone the incident that you recall as they say in the law court, did there come a time when you walked in a photo lab and someone told you something quite astounding? What happened that day?

D.T.: Yes Elaine, that's true. During the Apollo mission I worked at NASA throughout those Apollo missions and I did leave NASA at the time the space shuttles began. I worked in building eight in the photo lab. I had a secret clearance so I thought I could go anywhere in the building. And I did go into one area that was a restricted area. In this area they developed pictures taken from satelites and also all of the missions, the Apollo missions, flight missions. I went in and I was talking to one of the photographers and developers and he was putting together a mosaic which is a lot of photos, smaller photos into a larger photo pattern. And while I was in there I was trying to learn new methods and new things about the whole organization and I was looking at the pictures and he directed my attention to one area, he said, Look at that. I looked and there was a round oval shaped, well it was very white circular shape of a dot and I, it was black & white photography, so I asked him if that was a spot on the emulsion and he said, well I can't tell you but spots on the emulsion do not leave round circles of shadows.

E.D.: So there was a shadow on the ground?

D.T.: Right, a round shadow! And I noticed that there were pine trees, now I don't know where this area was or what, you, pretty close to the ground what I saw but I didn't see outline of the continent. But I did notice that thre was shadow under this white dot and I also noticed that the trees were casting the shadows in the same direction as this shadow of the circle of this aerial phenomena because it was higher than the trees but not too much higher than the trees but it was close to the ground and it was spherical but slightly elongated, not very much but slightly. I then said, is it a UFO? And he said, Well I can't tell you. And then I asked him, what are you going to do with this piece of information? And he said, well we have to airbrush these things out before we sell these photographs to the public. So I realized at that point that there is a procedure setup to take care of this type of information from the public.
"An important scientific innovation
rarely makes its way by gradually
winning over and converting its
opponents: What does happen is that
the opponents gradually die out."
M. Planck

Offline sandokhan

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Re: Nasa Fake Space Program
« Răspuns #1 : Martie 17, 2008, 08:05:23 p.m. »
ESTE EXTREM DE INTERESANT DE ANALIZAT FAPTUL ca imaginile care ne sunt prezentate de mai bine de 30 de ani (Mariner-Pioneer-Soho, un Soare de forma sferica cu sursa de energie fuziunea nucleara; Hubble-galaxii, gaze intergalactice, nebuloase galactice; Voyager-Galileo-Cassini-Viking, sistemul heliocentric care ar contine planete gigantice de forma sferica dincolo de Marte) constituie acum o problema incredibila si de nerezolvat (de aceea este atat de bine ascunsa de public) pentru conspiratorii care incearca de mai bine de 400 de ani sa ascunda faptul ca nu exista decat o singura planeta, Pamantul. Efectele speciale create de Stanley Kubrick in 1966-1968 pentru 2001 Odiseea Spatiala sunt considerate cele mai deosebite si exceptionale realizate vreodata; intradevar, graficele efectuate cu ajutorul calculatorului de catre Industrial Lights&Magic/DreamWorks (Star Wars/Star Trek/Contact...) par niste simple jocuri de copii in comparatie.

'Back in 1968, no one had done anything like this before, and no one has since. It was a marvel of a special effects breakthrough back then, and seeing how the effects hold up today, it is no wonder as to why. The film still looks marvelous after almost forty years! Take note CGI people. Through the use of large miniatures and realistic lighting, Kubrick created some of the best special effects ever put on celluloid. With assistance from special effects expert Douglas Trumbull, Kubrick spent over two years meticulously creating the most 'realistic' depictions of outer space ever seen.'

(Secventa clasica Jupiter and Beyond the Infinite poate fi vizionata pe video.yahoo.com sau video.google.com)

Kubrick, in mod genial, a reusit sa induca in imaginatia publicului ideea unui Univers care ar cuprinde un numar imens de galaxii (ne putem da seama ca imaginile oferite de satelitul Hubble sunt doar niste copii/reproduceri sau modificari ale viziunilor prezentate de filmul 2001 A Space Odyssey), a unei planete Jupiter gigantice (fotografiile de pe Voyager sunt, iarasi, niste copii realizate pe calculator dupa originalul lui Kubrick); aselenizarea este infatisata in detalii mult mai realiste decat cele expuse de misiunile Apollo (realizate cu sprijinul lui Kubrick).

Kubrick si Hubble ne ofera imagini ale unor galaxii create exclusiv de o explozie initiala de tip big bang; si totusi, dovezile stiintifice care au fost obtinute in special in ultimii 15-20 de ani ne spun ca teoria big bang este CEA MAI IMPOSIBILA SI MAI IMPROBABILA DIN TOATE TEORIILE PROPUSE IN COSMOLOGIE.

Kubrick si Soho ne ofera imagini ale unui Soare de forma sferica fueled by nuclear fusion; si totusi, dovezile stiintifice ne spun ca sursa de energie a Soarelui NU POATE FI NICIDECUM FUZIUNEA NUCLEARA.

Kubrick si Voyager ne ofera imagini ale unei planete Jupiter gigantice inconjurate de mai multi sateliti care orbiteaza impreuna Soarele pe baza teoriei oferite de I. Newton; si totusi, exista demonstratia stiintifica care ne arata ca un satelit nu poate orbita o planeta pe baza teoriei gravitationale (Soare-Pamant-Luna, Soare-Jupiter-Satelit sau orice alt sistem similar, Stea-Planeta-Satelit) inventate de I. Newton.

Kubrick ne ofera imagini care infatiseaza o Luna de forma sferica EXACT la fel ca si cele prezentate de misiunile Apollo; si totusi, stim acum ca TOATE misiunile Apollo au fost falsificate, fiind concepute si executate aici pe Pamant si nicidecum in spatiu...stim, de asemenea, ca si zborul in spatiu al lui Yuri Gagarin nu a fost decat o mare pacaleala.

Kubrick ne ofera imagini (mult mai bine realizate decat cele din prezent) ale unui Pamant de forma sferica; si totusi, chiar daca nu luam in considerare existenta unui Pamant de forma plata (care este de fapt forma ADEVARATA a Pamantului), stim ca fotografiile/satellite images care infatiseaza Antarctica sunt complet false (vezi expeditiile amiralului R. Byrd care a descoperit teritorii intinse dincolo de bariera de gheata care ne este cunoscuta sub numele de Antarctica care contin munti, lacuri, vegetatie, animale...); de asemenea stim ca drumul/traiectoria/traseul parcurs de nori si de curentii atmosferici arata la modul cel mai clar ca Pamantul nu se roteste deloc in spatiu...

After Einstein, men began to look deeper and deeper into the starry cosmos. Evidence that, indeed, Earth was in the center of the universe was discovered by one of the world’s most famous astronomers, Edwin Hubble, the man after whom the Hubble Space Telescope is named. So shocked was Hubble when he examined the redshift of starlight that the only thing he could offer to refute and Earth-centered cosmos was to say:

'Such a condition would imply that we occupy a unique position in the universe...This hypothesis cannot be disproved, but it is unwelcome....the unwelcome position of a favored location must be avoided at all costs....such a favored position is intolerable' (The Observational Approach to Cosmology, pp. 50-55).

Mr. Hoge insists that the Bible has no interest in giving us any specific description of the cosmos, yet Scripture says, “The heavens declare the glory of God, and the firmament his handiwork.” In fact, as we see above from Edwin Hubble, the mere thought that the Earth was the center of the universe made him shake in his boots. It is “intolerable” to him. Why? Because Hubble was a thinking man just like you and me. He realized that if Earth was in the center, then there is a God, and Hubble was responsible to Him, and there was no escape. Perhaps that is why Scripture continually tells us hundreds of times that the sun moves; that the moon moves; that the planets move; but it never tells us that the Earth moves (not once), yet Mr. Hoge stubbornly insists that none of that language is trying to tell us anything special. If Mr. Hoge would only listen to Scripture instead of trying to dismiss it, he would see that the description of the cosmos is one of the most salient features of biblical revelation given to us so that men will recognize that there is indeed a God and a heaven. When men think that the earth is just some speck of dust whirling around, by chance, in a vast and dark universe, they have every reason to deny God’s existence and not give a hoot about heaven, and that is exactly what Hawking, Sagan and Gould say is their primary motivation for their agnosticism or atheism. If Earth is in the center, then they have no escape, since common sense tells them it could not be there unless a God put it there. How’s that for “telling us how to go to heaven” Mr. Hoge? Open your eyes and stop following the blind leaders of the blind.

NASA wants you to believe that the Apollo astronauts re-entered earths atmosphere doing 25,000 miles an hour (like the shuttle) and simply broke the descent to a picture perfect splash down with 3 parachutes, and in one case, Apollo 15, with only 2 parachutes as one chute collapsed, which is absurd. NASA wants you to believe that after entering earth’s atmosphere at 4000 degrees Fahrenheit and splashing down within 8 minutes that the spacecraft had complete cooled off, as there was no steam coming off of the craft when it hit the water, which is impossible. The crafts that were seen splashing down were simply dropped from a C5A transport plane.

Cum a regizat Stanley Kubrick primele misiuni Apollo:

If it wasn't for the sci-fi feats of Kubrick in 2001, the American brain trust would have offered us only audio of the so-called moon landing. It was 2001 that showed NASA how to stage a moon landing.

Excellent observation. In fact, in early 1968, Mr. Kubrick was secretly approached by NASA officials who presented him with a lucrative offer to 'direct' the first three moon landings.

Initially Kubrick declined, as '2001: A Space Odyssey' was in post-production at the time, but NASA sweetened the deal by offering to allow Mr. Kubrick exclusive access to the alien artifacts and autopsy footage from the Roswell crash site.

NASA further leveraged their position by threatening to publicly reveal the heavy involvement of Mr. Kubrick's younger brother, Raul, with the American Communist Party. This would have been an intolerable embarrassment to Mr. Kubrick, especially since the release of 'Dr. Strangelove'.

Kubrick finally relented, and for sixteen months he and a special effects team -- led by Douglas Trumbull -- worked in a specially-built sound stage in Huntsville, Alabama, 'creating' the first and second moon landings. This effort resulted in hundreds of hours of 35mm and video 'footage' of the Apollo 11 and 12 moon missions.

The bogus Apollo 11 mission was masterfully staged in July of 1969. A Saturn V rocket with astronauts Armstrong, Aldrin, and Collins was launched into low Earth orbit, remaining there while NASA carefully released Kubrick's studio footage to the press. After the spectacular 'lunar landing' and 'return to Earth,' the astronauts reentered Earth's atmosphere and made a perfect splash down in the Pacific, right on schedule.

Several months later, the Apollo 12 mission was successfully staged in a similar manner.

Mr. Kubrick refused to direct the Apollo 13 mission, however, because NASA officials rejected his screenplay in which the Apollo 13 mission fails. Kubrick insisted that a dramatic failed mission from which the astronauts were safely returned to Earth would ultimately prove to be NASA's 'finest hour.'

NASA maintained that a failed mission would unnecessarily jeopardize the agency's image, so Kubrick quit the project. Ironically, NASA later decided to use the failed mission scenario, for which Randall Cunningham -- a little known but highly respected British director -- was recruited to direct.

Kubrick's relentless perfectionism is evident throughout the Apollo production, from the chilling '1201 alarm' during the final seconds of the Eagle's descent to the lunar surface, right down to the lunar dust covering the astronaut's EVA suites.

The production itself was not without problems, however. For example, the front-projection process -- used so successfully in the 'Dawn of Man' sequences in 2001, proved to be inadequate for reproducing a convincing lunar landscape. Particularly vexing was the challenge of recreating the harsh lighting conditions and the one-sixth G environment on the Moon.

However, all of the scenes were carefully scripted in advance, and Kubrick was able to direct remotely from the Johnson Space Center in Houston -- a film making 'first.'

An interesting side note: Kubrick is well-known for his interest in theoretical mathematics. During breaks in the filming of the Apollo missions, Kubrick would often dabble in orbital mechanics, frequently consulting with Werner von Braun who lived in Huntsville at the time.

After several of these sessions, Kubrick inadvertently derived an elegant solution to the 'free return trajectory' problem -- the very problem that prevented NASA from completing a real moon mission in the first place.

Sadly, this discovery came about far too late into the production for it be of any practical use to the engineers at NASA, and was soon forgotten.

To this day, however, Stanley Kubrick's brilliant work on the Apollo missions remains both unsurpassed and -- regrettably -- uncredited.
"An important scientific innovation
rarely makes its way by gradually
winning over and converting its
opponents: What does happen is that
the opponents gradually die out."
M. Planck