


[link to www.reuters.com] By Jasmin Melvin WASHINGTON (Reuters) - NASA gave visitors to the National Mall in Washington a peek at a full-size mock-up of the spacecraft designed to carry U.S. astronauts back to the moon and then on to Mars one day. The U.S. Navy-built Orion crew exploration vehicle will replace the space shuttle NASA plans to retire in 2010, and become the cornerstone of the agency's Constellation Program to explore the moon, Mars and beyond. "We're just very proud to build this, do some testing and demonstrate to America that we're moving beyond the space shuttle onto another generation of spacecraft," said Don Pearson, project manager for the Post-Landing Orion Recovery Test or PORT. NASA plans to use Orion to carry astronauts to the International Space Station by 2015. The capsule will rotate the crew at the station every six months "to work out the kinks" before heading to the moon and Mars, Pearson said. Trips to the moon are scheduled for 2020, while a journey to Mars is believed possible by the mid-2030s. The design of Orion was based on the Apollo spacecraft, which first took Americans to the moon. Although similar in shape, Orion is larger, able to carry six crew members rather than three, and builds on 1960s technology to make it safer. 'WE WANT TO GO TO MARS' Orion is named for a bright constellation that got its designation from a hunter in ancient Greek mythology. "The reason we're doing all of this is because we want to go to Mars," Pearson said. But a round trip to the red planet would require three years -- six to nine months to get there and much of the rest of the time waiting for the planets to realign to allow for entry back to Earth. "We're not confident in our technology yet to be able to last for three years without things breaking that are unrepairable," Pearson said. So NASA plans to first take several trips to the moon, a journey of just three days. Each visit will last six months while astronauts set up a campsite and practice the things they want to do on Mars. "That's really the goal -- to put humans on Mars, and going to the moon is our testing ground in order to do it," Pearson explained. The $2 million PORT project will make sure that crew members can be rescued from the choppy waters of the Atlantic in case of an emergency requiring an aborted launch, using the full-scale, 18,000-pound (8,000 kg) model of Orion. On April 6, the capsule will be dumped into the Atlantic Ocean off the coast of Florida, using one of the ships that usually recovers rocket boosters from shuttle launches. Instruments within the capsule will measure the acceleration and tilting astronauts would experience upon landing in waves. Contractors for the project include Lockheed Martin Space Systems Corporation of Denver and Orbital Sciences Corp of Dulles, Virginia. Over the summer, flight doctors will analyze the data to ensure it does not make astronauts too queasy. Crew seats will be installed in the model this summer as well to allow astronauts to practice getting out of the capsule on their own while bouncing in big waves. |
By: thecounterpunch
02.11.2007
Interview of Zbigniew Brzezinski
Q: The former director of the CIA, Robert Gates, stated in his memoirs “From the Shadows”,
that American intelligence services began to aid the Mujahadeen in Afghanistan 6 months before the Soviet intervention. In this period you were the national security adviser to President Carter. You therefore played a role in this affair. Is that correct?
Brzezinski: Yes. According to the official version of history, CIA aid to the Mujahadeen began during 1980, that is to say, after the Soviet army invaded Afghanistan, 24 Dec 1979. But the reality, secretly guarded until now, is completely otherwise: Indeed, it was July 3, 1979 that President Carter signed the first directive for secret aid to the opponents of the pro-Soviet regime in Kabul. And that very day, I wrote a note to the president in which I explained to him that in my opinion this aid was going to induce a Soviet military intervention.
Q: Despite this risk, you were an advocate of this covert action. But perhaps you yourself desired this Soviet entry into war and looked to provoke it?
Brzezinski: It isn’t quite that. We didn’t push the Russians to intervene, but we knowingly increased the probability that they would.
Q: When the Soviets justified their intervention by asserting that they intended to fight against a secret involvement of the United States in Afghanistan, people didn’t believe them. However, there was a basis of truth. You don’t regret anything today?
Brzezinski: Regret what? That secret operation was an excellent idea. It had the effect of drawing the Russians into the Afghan trap and you want me to regret it? The day that the Soviets officially crossed the border, I wrote to President Carter: We now have the opportunity of giving to the USSR its Vietnam war. Indeed, for almost 10 years, Moscow had to carry on a war unsupportable by the government, a conflict that brought about the demoralization and finally the breakup of the Soviet empire.
Q: And neither do you regret having supported the Islamic integrisme
, having given arms and advice to future terrorists?
Brzezinski: What is most important to the history of the world? The Taliban or the collapse of the Soviet empire? Some stirred-up Moslems or the liberation of Central Europe and the end of the cold war?
Q: Some stirred-up Moslems? But it has been said and repeated: Islamic fundamentalism represents a world menace today.
Brzezinski: Nonsense! It is said that the West had a global policy in regard to Islam. That is stupid. There isn’t a global Islam. Look at Islam in a rational manner and without demagoguery or emotion. It is the leading religion of the world with 1.5 billion followers. But what is there in common among Saudi Arabian fundamentalism, moderate Morocco, Pakistan militarism, Egyptian pro-Western or Central Asian secularism? Nothing more than what unites the Christian countries.
The above was found on http://www.counterpunch.org/brzezinski.html and has been translated from the French by Bill Blum author of the indispensible, “Killing Hope: US Military and CIA Interventions Since World War II” and “Rogue State:
A Guide to the World’s Only Superpower” Portions of the books can be read at
http://members.aol.com/superogue/homepage.htm
http://hubpages.com/hub/Zbigniew_BrzezinskiHow_Jimmy_Carter_and_I_Started_the_Mujahideen
Posted on 03/19/2009 7:18:41 AM PDT by Tolik
A sitting President of the United States is "organizing a political organization loyal to him, bound by a pledge, outside the government and existing party apparatus. The historical precedents are ominous."
What is so ominous about an organization? Americans, Alexis de Tocqueville famously observed, "constantly form associations.... If it is proposed to inculcate some truth or to foster some feeling by the encouragement of a great example, they form a society."
Certainly, thousands of organizations seek to influence the political debate. There's Newt Gingrich's American Solutions or the left-wing People for the American Way, for instance.
Political parties are another example of an association, of course. Before, during and after political campaigns, the Democrats and Republicans promote their agendas. As legal entities, they have their own constitutions, their rules of business, their chairmen and officers. They have to be accountable to both the government and their members.
But there is a new organization on the political scene -- "Organizing for America," announced by President Barack Obama in late January but officially unfurled last weekend.
Obama describes OFA as a "grass-roots movement" but OFA is a "project" of the Democratic National Committee.
As Politico reported, OFA will take the 10 million person database built up by the Obama campaign "to mobilize support for the president's legislative agenda."A visit to the OFA website reveals that supporters are not simply asked to sign up, they are asked to take a pledge. A pledge to support -- not the flag, not the constitution, not the country, not even the Democratic Party, but Obama and his "bold plan." OFA does not use the Democratic Party logo but the "O"-shaped logo of the Obama campaign in which the red white and blue of the flag are abstracted to soft pastel colors.
(Celebrities like Ashton Kuchner and Demi Moore did not wait until the official launch to "pledge to be of service" to Barack Obama, of course.)
You will not find any mention of OFA`s governing structure, their budget, their bylaws, or their officers at the OFA website. Donations to the website go to the DNC, but OFA is managed out of the White House. If you click on the comments button, you are taken to a link to the White House email.
Those who take the pledge are asked to "talk with people about the President's plan" and to "ask them to sign their names to the pledge" in support of Obama's policies.
So we have a Movement -- this is their term, not mine -- organized by, and loyal to, a sitting President. Pledge canvassers, armed with your name, will ask you to pledge loyalty to the President too. A president whose term has already become a permanent campaign, is signing up ground forces in a mass organization pledged to personal loyalty to their Leader.
Does anyone know of any historical precedents for this in the United States?
Did Mitch Stewart, youthful director of OFA, who asks Obama's acolytes to organize "neighborhood by neighborhood" study anything at school about Mao's "Red Guards?
How about Fidel Castro's "widespread system of neighborhood informers"?
Or Hugo Chavez's use of "neighborhood committees"?
Did Stewart learn anything about democracy at all?
Do any of Obama's pledged servants understand why a sitting president has no business creating and deploying his own supporters to help organize their neighbors?
Keep in mind that these acolytes have renounced any thought of questioning the actual policies of the maximum leader. Whatever he says, they are for it. They have given their word.
And they are coming to have a talk with you.
As Thomas Lifson wrote, "This is not the way a democracy is supposed to operate."
My Silence Cannot Be Bought
by Beverly EckertI’ve chosen to go to court rather than accept a payoff from the 9/11 victims compensation fund. Instead, I want to know what went so wrong with our intelligence and security systems that a band of religious fanatics was able to turn four U.S passenger jets into an enemy force, attack our cities and kill 3,000 civilians with terrifying ease. I want to know why two 110-story skyscrapers collapsed in less than two hours and why escape and rescue options were so limited.
I am suing because unlike other investigative avenues, including congressional hearings and the 9/11 commission, my lawsuit requires all testimony be given under oath and fully uses powers to compel evidence.
The victims fund was not created in a spirit of compassion. Rather, it was a tacit acknowledgement by Congress that it tampered with our civil justice system in an unprecedented way. Lawmakers capped the liability of the airlines at the behest of lobbyists who descended on Washington while the Sept. 11 fires still smoldered.
And this liability cap protects not just the airlines, but also World Trade Center builders, safety engineers and other defendants.
The caps on liability have consequences for those who want to sue to shed light on the mistakes of 9/11. It means the playing field is tilted steeply in favor of those who need to be held accountable. With the financial consequences other than insurance proceeds removed, there is no incentive for those whose negligence contributed to the death toll to acknowledge their failings or implement reforms. They can afford to deny culpability and play a waiting game.
By suing, I’ve forfeited the “$1.8 million average award” for a death claim I could have collected under the fund. Nor do I have any illusions about winning money in my suit. What I do know is I owe it to my husband, whose death I believe could have been avoided, to see that all of those responsible are held accountable. If we don’t get answers to what went wrong, there will be a next time. And instead of 3,000 dead, it will be 10,000. What will Congress do then?
So I say to Congress, big business and everyone who conspired to divert attention from government and private-sector failures: My husband’s life was priceless, and I will not let his death be meaningless. My silence cannot be bought.
http://www.commondreams.org/views03/1220-04.htm
Beverly Eckert was co-chairwoman of Voices of September 11.
Mary Fetchet became the founding director of Voices of September 11 following the death of her 24-year-old son, Brad, in the attacks on the World Trade Center. Bradley Fetchet (unmarried with no dependents) is not listed in the Social Security Death Index as well.
Based on personal experiences that happened to Dick in March of 1974, Valis is much more than a science fiction story. It is a complex view of the universe that appears to come from the mind of a deranged mental patient, obsessed with helping victims who can't help themselves and is intent on killing himself. The twisted part of Valis is that it makes more and more sense as the book goes on, drawing the reader into this insane way of thinking. While there are delusional hallucinations throughout Valis, much of Dick's world view is derived from ancient wisdom and religious beliefs. He draws many references from pre-Christian mysticism and Greek Gnosticism. Just as is Radio Free Albemuth, the reader often wonders which parts of Valis are Dick's real-life experiences. Valis is written in Dick's first person voice as he narrates about Horselover Fat, his alter-ego. His schizophrenia plays a major role in this novel, representing Dick's lack of faith as he searches for God. Further dissolving the distinction between truth and fiction, Dick discusses his own novels and his writing career as the events unfold.
Divine intervention, extraterrestrial communication and conspiracy theories all serve to lay the foundation for the insane world that is Valis. Journey inside the schizophrenic mind of PKD and Horselover Fat as they attempt to find answers to the questions of human existence, the benevolence of god and the future of the universe. In the end Dick asks the ultimate question, "Truth or fiction?".
Consensus reality (rarely or mistakenly called "consensual reality")[1] is an approach to answering the question 'What is real?', a profound philosophical question, with answers dating back millennia; it is almost invariably used to refer to human consensus reality, though there have been mentions of feline and canine consensus reality.[2] It gives a practical answer - reality is either what exists, or what we can agree by consensus seems to exist; the process has been (perhaps loosely and a bit imprecisely) characterised as "[w]hen enough people think something is true, it... takes on a life of its own." The term is usually used disparagingly as by implication it may mean little more than "what a group or culture chooses to believe," and may bear little or no relationship to any "true reality", and, indeed, challenges the notion of "true reality". For example, Steven Yates has characterised the idea that the United States Federal Reserve Notes (not "backed" by anything) are "really worth a dollar" as "part of what we might call our consensus-reality... not... real reality."[3]
The difficulty with the question stems from the concern that human beings do not in fact fully understand or agree upon the nature of knowledge or knowing, and therefore (it is often argued) it is not possible to be certain beyond doubt what is real.[4][5] Accordingly, this line of logic concludes, we cannot in fact be sure beyond doubt about the nature of reality. We can, however, seek to obtain some form of consensus, with others, of what is real. We can use this to practically guide us, either on the assumption it seems to approximate some kind of valid reality, or simply because it is more "practical" than perceived alternatives. Consensus reality therefore refers to the agreed-upon concepts of reality which people in the world, or a culture or group, believe are real (or treat as real), usually based upon their common experiences as they believe them to be; anyone who does not agree with these is sometimes stated to be "in effect... living in a different world."[6]
Throughout history this has also raised a social question: What shall we make of those who do not agree with consensus realities of others, or of the society they live in? Children have sometimes been described or viewed as "inexperience[d] with consensus reality,"[7] although with the expectation that they will come into line with it as they mature. However, the answer is more problematic as regards such people as have been characterised as eccentrics, mentally ill, divinely inspired or enlightened, or evil or demonic in nature. Alternatively, differing viewpoints may simply be put to some kind of "objective" (though the nature of "objectivity" goes to the heart of the relevant questions) test. Reality enforcement is a term used[citation needed] for the coercive enforcement of the culturally accepted reality, upon non-conforming individuals. It has varied from indifference, to incarceration, to death.
The plot revolves around fourteen colonists of the world Delmak-O. They are: Betty Jo Berm, a linguist; elderly Bert Kostler, settlement custodian; Maggie Walsh, a theologian; Ignatz Thugg, who oversees thermoplastics; Milton Babble, a physician; Wade Frazer, a psychologist; Tony Dunkelwelt, a geologist; Glen Belsnor, who specialises in telecommunications; Susie Smart, a typist; Roberta Rockingham, a sociologist; Ben Tallchief, a naturalist; Seth and Mary Morley, a marine biologist couple; and Ned Russell, an economist. They inhabit a universe in which the deities of their religion actually appear to exist and can be contacted through a network of prayer amplifiers and transmitters. Tallchief is transferred to Delmak-O as a direct result of his praying.
Delmak-O is mysterious and largely unexplored. It seems to be inhabited by both real and artificial beings and enormous cube-shaped, gelatinous objects ("tenches") that duplicate items presented to them and give out advice, in anagrams reminiscent of the I Ching. In addition, various members of the group report sightings of a large "Building". As various calamities continue to befall each character, part of the group ventures out to find the Building. However, each member of the group perceives the Building differently and determines it to have a different purpose.
One by one Tallchief, Smart, Dunkelwelt, Kostler and Walsh either kill themselves or are killed under mysterious circumstances. During a fight between the remaining colonists Seth Morley is shot through the shoulder causing an artery to be severed. While recovering from an attempt to repair the artery, Morely is abducted by armed men who kill Belsnor. They put Morely aboard a small flying craft but Morley overpowers them and takes control of the craft. With it he discovers that Delmak-O is in fact Earth, and he returns to the group to report this.
Once Morely informes the remaining colonists of this, the group then come to the conclusion that they are all part of a psychiatric experiment. Once they admit to having killed the other members they conclude that the experiment has been a failure. It is at this point that they notice that each of them are tattooed with the words "Persus 9." They decide to ask a tench what this means but doing so causes the tench to explode and the world around them to crumble to pieces.
All of them, including the colonists thought to be dead, awake to find that they are actually the crew of a spaceship that has become stranded in orbit around a dead star with no way of calling for help. It becomes clear that the whole experience had been a kind of virtual reality designed to help them pass the time. Seth Morley is depressed by this and wonders whether it would be better to let all the air out from the ship and thus kill them all rather than live out the rest of their lives engaging in virtual reality with no hope of rescue. Before he acts, however, an aspect of the deity, supposedly existing only in the virtual reality and not part of the "real" world appears before Morely and removes him from the ship. The others, unconcerned with his disappearance, embark on another hallucination which begins in exactly the same way as the previous one, only this time without Seth Morley.
Orson Welles' by Philippe St-Germain | ![]() |
When he was young, Orson Welles already played grown-ups. He shouted excerpts of Shakespeare's plays in front of bewildered people, anticipating both his trilogy of works inspired by the bard's oeuvre (Macbeth [1948], Othello [1952] and Chimes at Midnight [1966]) and his own ferocity as an actor/filmmaker. He already needed to use his knowledge to be someone else, or rather to add layers to his own personality. As an actor, he often confessed the need to resort to disguises and mystifications in order to play some characters. This chameleonic doubling between the man and the actor becomes triple since all the characters he gives life to, in his own films, are themselves veiled by various ramifications. These masks can be physical, metaphorical or both; Mr. Arkadin (1955), a French/Spanish production that Welles shot during his forced exile from the United States, falls into the third group.
Orson Welles' films are full of masks and false doubles; they're always morally ambiguous. While he wants to maintain man's dignity, he refuses to judge since judgment, according to him, is ineffectual: it invariably leads to chaos or death (Citizen Kane [1941], The Lady From Shanghai [1948], Mr. Arkadin, Touch of Evil [1958], The Trial [1962], Chimes at Midnight). Trying to dig deep through an individual's inner self will never reveal his precise portrait since too many aspects elude us. Citizen Kane exposed this conflict, the goal of its quest being ultimately ignored. Welles' film debut built the foundations of his moral approach, and each subsequent one proposes a new reading of the eternal friction between a quest (for truth, for justice, for identity) and its consequences. This preoccupation can be traced back both to his essay films (F For Fake [1973], Filming Othello [1978]) and to his narrative features.
Mr. Arkadin opens with an image whose importance is only apparent later on: a plane is moving in the sky, seemingly without any destination. A bit later, Van Stratten (Robert Arden) and his girlfriend (Patricia Medina) end up near a dying man who tells them the name "Arkadin". After some research, Van Stratten reaches the mysterious man bearing this name (Welles) and Arkadin, pleading amnesia, requests him to prepare a report containing the main events of his life, promising him a sum of money in return. As the case progresses, the witnesses called upon by Van Stratten are assassinated; he soon discovers the link between these murders and Arkadin as he tries to protect the only witness still alive (Akim Tamiroff). Arkadin's daughter (Paola Mori), unknowingly, drives the denouement home.
In the films of Orson Welles, the quest for truth can be initiated in a number of ways - it can be encouraged by those who represent the image of good (cops, journalists, kings, etc. - that's the case in Citizen Kane, The Stranger [1946], Macbeth, Othello, The Trial and Chimes at Midnight), but it can also be unintentionally kicked off by a character who is at the center of the dilemma, one who unwittingly drops some cues (The Magnificent Ambersons [1942], The Lady From Shanghai, Touch of Evil). Along with The Immortal Story [1968], Mr. Arkadin is the sole Welles narrative feature in which the character undergoing the investigation voluntarily initiated it.
This, in turn, affects all reflections concerning the film's thematic elements. When Arkadin tells the story of the scorpion who, unable to control his instincts, stings the frog that transports him over the water's surface and thus kills both of them, he relates the story of the characters that Welles embodies in his own films. These men, in part conditioned by exterior factors (implicitly tied - at various degrees and necessarily arbitrary since they're subjective - to the past, to the experience of the actor who incarnates them), have an objective and are only guided by it. They're sometimes aware of the utopian aspect of their goal but still proceed towards it, literally unshakeable. Arkadin's enterprise is doomed from the start - it would be intolerable for him if his daughter knew of his machinations, yet even this cannot stop him. This gives Arkadin the obsessive, pathetic aspect that defines Welles' characters - people running to their ruin since they stay true to their nature (to their character, to use a more precise word that's mentioned throughout the film).
On the other hand, Van Stratten isn't infused with the same strength: he's intrigued by the sum promised by Arkadin, but eventually capitulates in order to fight for his own survival. Only Van Stratten's thirst for money implicates him in the plot: his main role is that of a pawn manipulated by Arkadin for the creation of his confidential report. Van Stratten is also ultimately responsible for Arkadin's death, for it is his inference (more specifically, his confessions to Arkadin's daughter) that urges his employer to opt for suicide as an option at the last moment. Refusing Arkadin's conditions, though, would have provoked Van Stratten's own death. Mr. Arkadin's universe, whose intransigent moral prizes integrity over the fight for survival, is a sort of maze whose exits are as rare as they are hard to reach (and in which Arkadin is both a minotaur and a victim).
In that vein, Orson Welles' films never conclude with a return to the status quo because they occur, from start to finish, in a world that doesn't accept compromises. The antagonistic forces that fight with each other can't remain unscathed from their experiences since their scheming is bound to cause a deep change in the balance that both initially had. In Mr. Arkadin, the obliteration of strict rules goes as far as to have geographic repercussions, with Welles bringing together wildly different settings in the space of a few shots (a strategy that is also evident in The Trial). During the film, absolutely nothing is anchored in a space fixed and limited by its particular reference points. The architecture isn't only dictated by the physical movements of the characters, but also by their moral (an essential element of the metaphysical implications of Welles' oeuvre).
One doesn't need to get a peak at the film's opening credits to note that Arkadin is Welles' creation. This can be in part inferred by the fact that he stays true to his character, but also because his portrait is mainly given by the intermediary of other people's testimonies. Physically and psychologically, the man takes form more via the perceptions of those who knew him than from his own initiative. Like Charles Foster Kane (Citizen Kane), Macbeth, Othello, Hank Quinlan (Touch of Evil), Joseph K. (The Trial), Falstaff (Chimes at Midnight) and Mr. Clay (The Immortal Story) in their respective films, Arkadin is the object of study of Mr. Arkadin, the mirror in which all the themes reflect and bring new meanings. That said, and contrary to what critical dogma has been implying for a few decades, Mr. Arkadin isn't a pocket Citizen Kane, but an extension (a vital nuance) of that film, with variations on its philosophical explorations.
Orson Welles, after a few shots showing Kane's Xanadu castle and its surroundings, begins Citizen Kane with a newsreel ("News on the march") offering information on Charles Foster Kane, a tycoon of the journalism industry who recently died. The truth of this segment isn't absolute - Kane is intermittently present, but the narrator is the one which spins the web on which rest the man's exploits and failures. What's more, Welles accumulates speculative portraits of Kane during the film: the protagonist's appearances sometimes follow testimonies, but nothing assures the viewers (which include both the film's spectators and some of its characters) that everything is true. The filmmaker, both with the screenplay's developments and his performances as an actor, constantly plays with the dialectic of truth and lies, of subjective and objective. Thus, the "News on the march" segue, far from being an introduction to the film, is intricately interwoven in the massive construction that is Citizen Kane: it becomes a symbol of its eminently complex structure.
Considering Citizen Kane as a series of flashbacks would be a reductive reading of the film since we'd neglect the scope of the interplay between creator and creation: the word "reconstitutions" would seem more appropriate. (In F For Fake, Welles would explore these potentially problematic aspects). While he's defined by his acquaintances' perceptions, Gregory Arkadin doesn't appear in such reconstitutions: his presence is witnessed in the reality of Van Stratten and Arkadin's daughter. The reconstitutions, in Mr. Arkadin, are exclusively verbal, while witnesses share their perceptions of the title-character with Van Stratten. Thus, Arkadin is at the center of a chess game from which his own life depends, but a game that he voluntarily started. We know that he's a player, but he's also one of the pawns. As the film progresses, Arkadin makes a breach in the screen and enters from top to bottom in Orson Welles' tragic cinema.
![]() | Six of Swords (Science): A trip or journey. Headstrong attempts to overcome difficulties. Expedient manner. Success after anxiety. More FREE readings... The Russian Tarot of Saint Petersburg is the final commissioned work of Yuri Shakov, a master in the lost art of Russian miniature painting. The rich, dark images lend themselves to questions regarding the struggle of the human spirit in trying times. If you would like your own copy of the Russian Tarot of Saint Petersburg, you can buy it now! |
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![]() | Ice Runes are most commonly used for questions about struggle, conflict, and achievement. Ger is one of the runes that touches on the cycles of the year, in this case the fall harvest. These cycles are eternal, which is represented in the rune by the fact that it is unchanged by reversal. Ger can represent pregnancy or other forms of fruitfulness, and is especially indicative of the cycles of providence and karma - that which has been sown is now being reaped. This rune can also represent the cycles of wealth, for crops were frequently a sign of wealth. More FREE readings... |