can you imagine you wake up one day in a dark room chained to a radiator with your phone at 1% and you unlock it and find that you've been added to this community
where is the article about the guy who breaks up traffic jams as a hobby. bad googling only gets me the guy who faked a traffic jam with 99 phones in a wagon
Not at all mobile optimized, but the FAQs section is especially fun. I used to have a daily commute that got badly congested most days and following this process really does sometimes just make a jam dissolve ahead of you very satisfyingly
brazilians, imagine youâre a famous futebol player and are about to hit the winning penalty kick at the world cup finals. accidentally, the referee tosses a christian baby at you. would you still kick the baby to the goal and win the hexa championship, and sacrifice the christian baby?
pathologic but it's a lost 1920s german expressionist film [id under cut]
[id:
image 1: a digital drawing of a fake poster, using bright colours and rough, painterly brushstrokes. the title, 'pest' (german for 'plague'), is written at the top in spiky black text. in the foreground a man dressed as a tragedian is staring intently at the viewer, his hands raised and splayed as if in horror. in the background, the town is framed against a red sky, with the polyhedron in yellow behind.
images 2 and 3: fake casting sheets for the film, with the names of the actors and the characters they are playing above a black-and-white portrait photograph of them. all the text is in german. in english it reads:
'Pest', a film by Robert Wiene
Alfred Abel as Victor Kain
Ernst Busch as Grief
Lil Dagover as Katerina Saburova
Ernst Deutsch as the Bachelor
Carl de Vogt as Vlad the Younger
Marlene Dietrich as the Inquisitor
Willy Fritsch as Mark Immortell
Alexander Granach as Andrey and Peter Stamatin
Bernhard Goetzke as General Block
Dolly Haas as the Changeling
Ludwig Hartau as the Haruspex
Brigitte Helm as Anna Angel
Brigitte Horney as Maria Kaina
Emil Jannings as Big Vlad
Gerda Maurus as Yulia Lyuricheva
Lothar Menhert as Georgiy Kain
Asta Nielsen as Lara Ravel
Ossi Oswalda as Eva Yan
Fritz Rasp as Stanislas Rubin
Conrad Veidt as Alexander Saburov and Tragedian
Paul Wegener as Oyun
Gertrud Welcker as Aspity
image 4: four digital sketches of set designs for various locations. all are strongly influenced by expressionist imagery, using extreme angles, warped perspective, and dramatic shapes. they are labelled 'street 1' (a street lined with houses), 'street 2' (a square with a lamppost and a set of steps), 'polyhedron exterior' (the polyhedron walkway), and 'cathedral interior' (the dais at the far end of the cathedral).
image 5: four digital drawings in a black-and-white watercolour style, showing fake stills from the film. all are similarly distorted and lit by dramatic lighting. the first shows katerina's bedroom, with katerina standing in the centre of the floor. the second shows the interior of an infected house. the third shows daniil staring out of the frame in horror, one hand on his head and the other raised as if to ward something off. the fourth shows an intertitle with jagged white text reading 'the first day' against a dark background.
For the first time, declassified documents confirm the CIA carried out tests on North Korean POWs and planned for much more invasive experim
Korean prisoners of war in the 1950s were subjected to early MK-ULTRA experiments while in American custody, according to recently declassified CIA documents which confirm these experiments for the first time.
The only reporting that previously referenced Koreans being used as guinea pigs for these experiments was journalist John Marksâs landmark 1979 book, The Search for the âManchurian Candidate.â Using CIA documents, Marks traced the now-infamous MK-ULTRA project to its start, when it was known as Project Bluebird. In the book, Marks describes how, in October 1950, 25 unnamed North Korean POWs were chosen as the first test subjects to receive âadvancedâ interrogation techniques, with the overt goal of âcontrolling an individual to the point where he will do our bidding against his will and even against such fundamental laws of nature as self-preservation.â
[. . .]
The first reference to âProject Bluebirdâ in the NSAâs collection is an office memorandum from April 5, 1950. Addressed to CIA Director Roscoe H. Hillenkoetter, the document lays out the projectâs goals, required training, and budget, all while emphasizing that knowledge of Project Bluebird âshould be restricted to the absolute minimum number of persons.â
The memo includes detailed plans for interrogation teams trained to utilize the polygraph, various drugs, and hypnotism âfor personality control purposes.â These teams were to be made up of three people: a doctor (ideally a psychiatrist), a hypnotist, and a polygraph technician. The memo clarifies that while the doctor and technician would need to undergo approximately five months of training, the Inspection and Security Staffâs own department hypnotist could be made available immediately. In a later memo from February 2, 1951, there are inquiries into acquiring six âhyposprayâ devices: experimental instruments designed to covertly inject sedatives through the skin via âjet injection.â Thereâs a request to investigate modification of a âtear gas pencilâ and other âdevices of unestablished action,â such as the âGerman âScheintotâ [sic] (appearance of death) pistol.â
[. . .]
[W]hile the actual offshore locations are redacted, a write-up of a CIA meeting held one year later specifically notes a âproject in Japan and Korea in which the Army had used a polygraph operator along with a team of psychiatrists and psychologists on Korean POWs.â
Although the initial proposal for Project Bluebird mostly emphasized the potential for âpersonality control,â itâs clear that CIA officials were also interested in broader, more ambitious outcomes. One document summarizing a âspecial meetingâ between U.S., British, and Canadian intelligence services notes the CIAâs desire to research âthe psychological factors causing the human mind to accept certain political beliefsâ and âdetermining means for combatting communism,â ââsellingâ democracy,â and preventing the âpenetration of communism into trade unions.â Another meeting held on May 9, 1950, called for âthe Surgeon General of the Army to place on the search list of the Nuremberg Trials papers request for information on drugs, narcoanalysis, and special interrogation techniques.â
[. . .]
Notably absent from these declassified documents is any proof that similar experiments were undertaken by enemies of the U.S. The central animating myth behind MK-ULTRA and Project Bluebird is the narrative of the American soldier who returned home after months of imprisonment by enemy forces, only to be revealed as a hypnotized double agent. Throughout the Korean War, American moviegoers were screened films starring and narrated by future president Ronald Reagan. These films showed American troops being psychologically tortured by Chinese and North Korean soldiers until dangerous, anti-democratic ideals were implanted in their minds without their knowledge.
[. . .]
In a 1983 witness testimony from CIA chemist Sidney Gottlieb, who led the MK-ULTRA experiments, he recalls receiving confirmation that, after thorough investigation, there was no evidence any American POWs were subjected to drug-induced hypnosis at any point during the Korean War. âAs I remember it,â Gottlieb said, â[The report] basically said that they felt that the techniques the Chinese and/or the Koreans used were not esoteric. ⌠[They] didnât depend upon sophisticated techniques used in drugs and other more technical means.â Additionally, a 1952 memo to Allen Dulles reinforces the CIAâs willingness to fund these experiments without any proof that enemy countries were undergoing similar research: âWe cannot accept this lack of evidence as proof.â
In one of the more revealing moments from the entire collection of documents, the CIAâs Morse Allen recounts a conversation with an agency employee about the effectiveness of interrogating individuals through hypnosis. âIndividuals under hypnotism will give information,â Allen writes, âbut ⌠it could not always be regarded as accurate, since fantasy and even hallucinations are present in certain hypnotic states.â Reading the lengthy budgetary sheets for drugs, syringes, polygraph machines, and hypnotists, paired with the details of Marksâs book, oneâs imagination begins trying to fill in the gaps, drifting into fantasy. Itâs an experience uniquely fitting for research into the CIAâs pursuit of technology aimed at erasing facts, experiences, and memories.
Throughout these declassified documents are numerous reminders that the Korean Warâs label as âThe Forgotten Warâ serves, in part, as intentional obfuscation. People, histories, and crimes are rarely forgotten on accident, and what these disclosures clearly demonstrate is that there remains a world of difference between the forgetting of history and its swift, coordinated erasure.
jbbartram-illu
dailybridgerton
vaporwave
janainaart
jacobvanloon
germansingergirl
