PROYECTO RAYO AZUL: EL APAGÓN ESTADOUNIDENSE
PROJECT BLUE BEAN: THE AMERICAN BLACKOUT
Estas películas son maravillosas porque:
These movies are wonderful because:
1) Condicionan a los espectadores a aceptar la posibilidad de cortes de fluído eléctrico masivo.
En AMANECER ROJO (RED DAWN), casi al comienzo de la película, se produce un corte de fluído eléctrico en una localidad que cumple un papel importante en la historia.
En EL HOMBRE DE ACERO (MAN OF STEEL), como a la mitad de la película se produce un corte de fluído eléctrico de extensión global y que cumple un papel fundamental en la historia.
2) Condicionan a los espectadores a vincular cortes de fluído eléctrico masivo con amenazas foráneas.
En AMANECER ROJO (RED DAWN) se indica que el corte de fluido eléctrico repentino es causado por un arma desarrollada por Corea del Norte.
En EL HOMBRE DE ACERO (MAN OF STEEL) se indica que el corte de fluido eléctrico se produce como consecuencia de la aplicación de tecnología procedente de un lugar del universo distinto al sistema solar.
En AMANECER ROJO (RED DAWN) y EL HOMBRE DE ACERO (MAN OF STEEL) los cortes de fluido eléctrico son producidos por agentes que intentan imponer su voluntad a la población estadounidense.
Tanto en AMANECER ROJO (RED DAWN) como en EL HOMBRE DE ACERO (MAN OF STEEL) un aspecto de la amenaza llega desde el aire y se prolonga en batallas terrestres que causan daños visibles a las ciudades y localidades estadounidenses.
En EL HOMBRE DE ACERO (MAN OF STEEL) la aparición del mismo mensaje en idiomas diferentes alrededor del planeta dentro de aparatos electrónicos como son los teléfonos portátiles y los receptores de televisión es el indicio de la comunicación con seres "extraterrestres". En el caso del mismo SUPERMÁN, él está vinculado a la figura de Cristo mediante un plano de amplia duración en la pantalla que contiene la imagen de un vitral en el aparece Jesús y que aparece como fondo de la cabeza de Clark Kent. Definitivamente las similitudes con el Proyecto Blue Beam es grande. Naturalmente, es una época en la que internet y los programas de las computadoras cuentan con infinitas "puertas traseras" que permiten interceptar las comunicaciones e informaciones de todo tipo por parte de los agentes totalitarios, transmitir el mismo mensaje en idiomas distintos es sencillísimo y de ninguna manera podemos pensar que exista nada "extraterrestre" en ello como no sea la forma de pensar decididamente extra-terrestre de esos mismos agentes totalitarios. Si la propiedad de las emisoras de televisión y las empresas de fluído eléctrico y las de telefonía están en unas pocas manos privadas, resulta de lo más elemental llevar a cabo un plan que semeje las circunstancias que se observan en EL HOMBRE DE ACERO.
3) Muy probablemente forman parte del condicionamiento requerido para aplicar el PROYECTO RAYO AZUL (PROYECT BLUE BEAM).
Como saben los lectores de perucine.blogspot.com, los nombres de mercancías producidas y distribuidas extensamente, de los personajes ficticios que presentan los medios de propaganda masiva y de los mitos urbanos sirven para ocultar la existencia de proyectos militares que llevan esos mismos nombres. Por ejemplo: Operación Popeye (Project Popeye / Motorpool / Intermediary - Compatriot), Programa Guerra de las Galaxias (Iniciativa de Defensa Estratégica), Sistema OVNI [UFO system (Ultra High Frecuency Follow-On system)].
Por tanto, ¿que piensan los lectores del BLU-RAY? Su pronunciación es similar a la de BLUE RAY y su nombre hace referencia al rayo laser azul utilizado para leer el disco. La traducciónde BLUE RAY es precisamente RAYO AZUL.
¿Existe algún parecido con la película BLUE THUNDER (RELÁMPAGO AZUL) de 1983 en la que ya se apreciaban artefactos voladores destruyendo edificios parcialmente?
El PROYECTO RAYO AZUL (PROJECT BLUE BEAM) tiene un nombre extremadamente similar al de BLU-RAY. Dado que nos encontramos en el primer día de aplicación del GRIDEX II en los Estados Unidos de Norteamérica (inicia el 13 de Noviembre de 2013 y termina el 17 de Noviembre de 2013) estamos observando detenidamente el desarrollo de estos ejercicios militares (drill) que fácilmente podrían convertirse en otro 11 de Septiembre de 2001 :-) puesto que es una situación planeada de tal modo que aplicar el PROYECTO BLUE BEAM resultaría sumamente sencillo.
4) Presentan homenajes ocultísimos al más grandioso cineasta de todos los tiempos: DON LEÓNIDAS CANDELARIO ZEGARRA UCEDA.
Por este motivo otorgamos a ambas películas posiciones entre los MEJORES ESTRENOS 2013 (BEST MOVIES 2013 IN PERU)
http://youtu.be/R_5P90qIzUw
AMERICAN BLACKOUT (APAGÓN AMERICANO)
http://www.examiner.com/article/national-geographic-s-american-blackout-misses-mark-foreshadows-gridex-2013
Title: YOU'WILL NEVER EAT LUNCH IN THIS TOWN AGAIN. Author: JULIA PHILLIPS. Publisher: SIGNET.
First Signet Printing, March, 1992.
Page 211 (about her, Steven Spielberg, Close Encounters Of The Third Kind, blackout scene):
"Steven and I are doing some research for Close Encounters. We meet with a guy from Con Ed who cues us onto how a blackout is dealt with. We create an entire scene shutting the system down, which is ultimately cut from the movie. Unnecessary information. Steven and I are both very taken with the guy who meets us. He is a charismatic Peter Boyle. Or Gene Hackman."
Page 22:
"My father didn't fight in World War II. Instead: He worked on The Bomb. I got to know duck-and-cover was a crock of shit when I was eight."
Pages 301, 302:
"The year we started shooting Close Encounters, 1976, Time magazine ran a black cover with the question IS GOOD DEAD? Not a question to ask me; IS GOD ALIVE? was more to the point, and then, looking around t the state of the world I'd add, AND WHY IS HE SO MEAN? Na, he/she/it had never existed.
"If God is dead, why not UFOs? reads a quote of mine in the Washington Post. This makes Steven furious, not because I have offended his personal beliefs, but because he worries that I might have cut into the commerciality of the project. Who had time for these God permutations? Me, I needed a logo.
My brother, the mathematician/scientist, had once set himself the task of reproving a basic theorem with what he called a simple but elegant proof. I want to do the same thing with a symbol for the movie. I have convinced Begelman Hirschfield, etc., that we should spend a great deal of money a year before the release of the picture to popularize the expression "close encounters of the third kind," make the prospective audience familiar with it. Develop ads that will use first-, second-, and third-kind examples, plus a single logo that will express everything relevant in a simple, elegant way.
First we need to acquire the rigths to the expression, which had been coined by sweet wacko named Alan Hyneck in a primer called The UFO Experience. Hyneck had once been the head of a government project called Project Blue Book, a secret study under the aegis of the Air Force designed to debunk reported UFO sightings, which had increased dramatically in postwar America. I always figured these were sightings of machinery we were testing secretely. Who'd want to visit us? I wondered.
He resigned the position, he tells us, because there were just too many sightings by reputable people that were impossible to discount or explain away. He had opened the Center for UFO Studies at Northwestern University and broken sightings down into three oddly poetic phrases; close encounter of the first kind; sighting of a UFO; close encounter of the second kind: physical evidence of a UFO: close encounter of the third kind: contact with a being from a UFO.
Actually his descriptions were wordier, and the simple, elegant poetry came later, mostly as a result of cutting- and-pasting skills I had acquired in a number of publishing jobs. I am lucky to get art and copy as clean as I do into those first double truck ads in the winter of '76. They are less the product of talent and concept and more the end of a lengthy negotiation, but they aren't half-bad and they do start to get the point across.
Bit by the Trifid Nebula is edged out and the road with the glow is featured, and bit by but overwrought, verbose copy, so characteristic of movie advertising, which runs an easy fifteen years behind state of the art, is simplified. Buy I have to go through a series of battles and negotiations to get it right. This involves a lot of late-night transcontinental travel, which is starting to wear me down.
First there is the matter of acquiring the rights to Hyneck´s phrases, which we do by acquiring the nonexclusive, in-perpetuity rights to the book in which they appeared. No matter how strongly I emphasize the importance of the phrases, nobody in Columbia's business affairs seems to have the time to handle negotiation, so it falls to Norman Garey to deal it out. (Years later we are sued anyway by a small publishing company that has acquired the book from its original publisher. In looking over all their deals with authors they discovered that the rights were not Hyneck's to sell. But all the time, blissful in our ignorance, we think they are ours to exploit.)
Page 318:
"Time´s Man of the Year is Jimmy Carter. He says he believes in UFOs. What a country...."
Page 446:
"The year we started shooting Close Encounters, 1976, Time magazine ran a black cover with the question IS GOOD DEAD? Not a question to ask me; IS GOD ALIVE? was more to the point, and then, looking around t the state of the world I'd add, AND WHY IS HE SO MEAN? Na, he/she/it had never existed.
"If God is dead, why not UFOs? reads a quote of mine in the Washington Post. This makes Steven furious, not because I have offended his personal beliefs, but because he worries that I might have cut into the commerciality of the project. Who had time for these God permutations? Me, I needed a logo.
My brother, the mathematician/scientist, had once set himself the task of reproving a basic theorem with what he called a simple but elegant proof. I want to do the same thing with a symbol for the movie. I have convinced Begelman Hirschfield, etc., that we should spend a great deal of money a year before the release of the picture to popularize the expression "close encounters of the third kind," make the prospective audience familiar with it. Develop ads that will use first-, second-, and third-kind examples, plus a single logo that will express everything relevant in a simple, elegant way.
First we need to acquire the rigths to the expression, which had been coined by sweet wacko named Alan Hyneck in a primer called The UFO Experience. Hyneck had once been the head of a government project called Project Blue Book, a secret study under the aegis of the Air Force designed to debunk reported UFO sightings, which had increased dramatically in postwar America. I always figured these were sightings of machinery we were testing secretely. Who'd want to visit us? I wondered.
He resigned the position, he tells us, because there were just too many sightings by reputable people that were impossible to discount or explain away. He had opened the Center for UFO Studies at Northwestern University and broken sightings down into three oddly poetic phrases; close encounter of the first kind; sighting of a UFO; close encounter of the second kind: physical evidence of a UFO: close encounter of the third kind: contact with a being from a UFO.
Actually his descriptions were wordier, and the simple, elegant poetry came later, mostly as a result of cutting- and-pasting skills I had acquired in a number of publishing jobs. I am lucky to get art and copy as clean as I do into those first double truck ads in the winter of '76. They are less the product of talent and concept and more the end of a lengthy negotiation, but they aren't half-bad and they do start to get the point across.
Bit by the Trifid Nebula is edged out and the road with the glow is featured, and bit by but overwrought, verbose copy, so characteristic of movie advertising, which runs an easy fifteen years behind state of the art, is simplified. Buy I have to go through a series of battles and negotiations to get it right. This involves a lot of late-night transcontinental travel, which is starting to wear me down.
First there is the matter of acquiring the rights to Hyneck´s phrases, which we do by acquiring the nonexclusive, in-perpetuity rights to the book in which they appeared. No matter how strongly I emphasize the importance of the phrases, nobody in Columbia's business affairs seems to have the time to handle negotiation, so it falls to Norman Garey to deal it out. (Years later we are sued anyway by a small publishing company that has acquired the book from its original publisher. In looking over all their deals with authors they discovered that the rights were not Hyneck's to sell. But all the time, blissful in our ignorance, we think they are ours to exploit.)
Page 318:
"Time´s Man of the Year is Jimmy Carter. He says he believes in UFOs. What a country...."
Page 446:
" "I´ve always wanted to meet Arthur C. Clarke," I say suddenly, reflexively mixing business and pleasure again. I have already met enough of my idols to know that it is better not to meet them, but Arthur C. Clarke could be a very cool choice for Ghost Town. Cool and indisputable, if anything is these days. I was a little girl when I first read Childhood's End. My little brother and I spent a week up on the roof of the apartment house in Brooklyn trying to turn the moon around with our minds before we could accept it as fiction."
Page 457:
"Then, why have I done it? Why have I worked and strived and done things like try to get Arthur C. Clarke to rewrite Ghost Town? Probably just to structure my time. Heaven know, I don´t believe the way I used to. But I don´t disbelieve either. And when it develops, through the endless ass-kissing I indulge in with Arthur, that he has actually set down a treatment for a sequel to 2001 called 2010, I go on a campaign of charm and force to get my hands on it. First Arthur lets me read it in his study, confessing before he does that he has already sent it to Stanley Kubrick."
Page 459:
"Mr. Wald thinks it would be a good idea for him to take a walk down the beach. I concur. I sip my martini and stare at my feet. I have never gotten over Childhood's End. He comes racing back to report that Goldie is on the beach, but the more significant report is the one form Kay Aherne that she can move into our suite."
Page 461:
" "Nobody wants to talk to Stanley Kubrick."
"I´ll talk to Stanley Kubrick. I don´t have a problem talking to brilliant, egotistical directors. Don´t you remember? It´s what I'm good at..." Not a crinkle in sight.
Page 333:
" "Well, that's something to look forward to..." The price of coke is skyrocketing, going even higher on a weekly basis. Lots of demand, very short supply. No more surfer's. No more Peruvian. Mostly this reconstituted yellow rock. Burns like shit. Add the hit to that and all it does is make you grind your teeth. Not your basic ecstatic experience."
Page 461:
" "Nobody wants to talk to Stanley Kubrick."
"I´ll talk to Stanley Kubrick. I don´t have a problem talking to brilliant, egotistical directors. Don´t you remember? It´s what I'm good at..." Not a crinkle in sight.
Page 333:
" "Well, that's something to look forward to..." The price of coke is skyrocketing, going even higher on a weekly basis. Lots of demand, very short supply. No more surfer's. No more Peruvian. Mostly this reconstituted yellow rock. Burns like shit. Add the hit to that and all it does is make you grind your teeth. Not your basic ecstatic experience."
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http://www.rand.org/content/dam/rand/pubs/research_reports/RR200/RR233/RAND_RR233.pdf
Predictive POLICING
The Role of Crime Forecasting
in Law Enforcement Operations
Walter L. Perry, Brian McInnis, Carter C. Price, Susan C. Smith, John S. Hollywood
Supported by the National Institute of Justice
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