Tag Archives: censorship

How to Avoid a PhD (Penalty for Hardworking Dummies): Debunking the Meritocracy Myth

To All Who Will Say, “It Has Nothing to Do with Me”

This book is a profound research work that exposes corruption, censorship, and corporate tyranny in the purported democratic system of the US. Hammond reveals the subversive role of the mainstream media in deceiving the public and manufacturing consent for perpetual wars, individual responsibility for institutional failures, and social injustice presented as a meritocracy. At the same time, argues Hammond, the incessant propaganda conditions the public to accept the denial of basic human rights such as healthcare, living wages, and higher education as undeserved luxuries.

According to the author, through sophisticated mechanisms, the People Relations industry constantly disseminates the illusion of freedom and democracy and inculcates the myth. Hammond offers a brief history of media corruption through consolidation of ownership, currently reduced to five giant corporations. The author opens the first chapter with a short analysis of the classic 5 filters of mass media detailed in Herman and Chomsky’s 1988 Manufacturing Consent. Although Chomsky’s revelation is widely popular as every dissident’s bible, less known is that the authors dedicated the book to an Australian writer, Alex Carey, whom they consider a pioneer in the field of propaganda.

According to Carey, people in the US have been subjected to an unparalleled, extensive, three-quarters century-long propaganda effort, designed to expand corporate rights by undermining democracy. Hammond traces the roots of propaganda back to the 1920s, when the founder of the People Relations field, Edward Bernays, initiated his mass psychological campaigns to win public opinion. Bernay’s successes include influencing women to smoke and promoting foreign intervention in Latin American countries at the behest of corporations, later known as Banana Republics.

During that time, leading intellectuals such as Bernays and Walter Lippmann freely used the term “propaganda” as an indoctrination tool and promulgated the idea of manipulating the public.

Bernay’s 1928 book titled Propaganda, was a literal manual for the ruling intelligentsia. According to Bernays, the masses should be unaware of the source of their influencers, while the audience is overwhelmed with carefully selected images and rhetoric by unknown agents. Another source used by Hammond is George Orwell’s unpublished preface titled “The Freedom of the Press” to his 1945 Animal Farm. A curious little-known fact is that Orwell had a hard time publishing the book in democratic Britain, and took him five years to find a publisher. Moreover, the preface, in which he explains the phenomenon of self-censorship and how in Western democracies it is done in a very subtle way in contrast with dictatorships where the censoring is open. Perhaps because of this analogy, the preface is still not published within the book, although could be found separately on the Internet.

Tamara Hammond’s book extensively analyzes the current media status with emphasis on alternative media in the context of the rising censorship practiced by the owners of social media networks. According to the author, from Google to Facebook to X (nee Twitter) tne giant networks are obedient purveyors of the ruling oligarchy that transcends national borders. Hammond warns that we are being conditioned to accept a neo-feudal technocratic dictatorship based on fearmongering and deception. Much of the book is dedicated to educating the audience about the real dissidents in media and academia who fight against wars and corruption, and to liberate imprisoned journalists like Julian Assange.

The epilogue features an allegorical tale about the slippery slope of corruption and the mechanisms of power that overwhelm even the most noble minds. Available for order on Amazon.

Unusual Features Of SARS Covid Genome Suggest Laboratory Creation Not Nature

The COVID-19 pandemic caused by the novel coronavirus SARS-CoV-2 has led to over 910,000 deaths worldwide and unprecedented decimation of the global economy. Despite its tremendous impact, the origin of SARS-CoV-2 has remained mysterious and controversial. The natural origin theory, although widely accepted, lacks substantial support.

Censorship Of Alternative Theory

A recent Reddit page

The alternative theory that the virus may have come from a research laboratory is, however, strictly censored on peer-reviewed scientific journals. Nonetheless, SARS-CoV-2 shows biological characteristics that are inconsistent with a naturally occurring, zoonotic virus.

Dr. Li-Meng Yan, one of the key authors of the report has been labeled as a whistle blower by Western media.

In this report, the authors describe the genomic, structural, medical, and literature evidence, which, when considered together, strongly contradicts the natural origin theory. The evidence shows that SARS-CoV2 should be a laboratory product created by using bat coronaviruses ZC45 and/or ZXC21 as a template and/or backbone. Building upon the evidence, we further postulate a synthetic route for SARS-CoV-2, demonstrating that the laboratory-creation of this coronavirus is convenient and can be accomplished in approximately six months.

Our work emphasizes the need for an independent investigation into the relevant research laboratories. It also argues for a critical look into certain recently published data, which, albeit problematic, was used to support and claim a natural origin of SARS-CoV-2.

From a public health perspective, these actions are necessary as knowledge of the origin of SARS-CoV-2 and of how the virus entered the human population are of pivotal importance in the fundamental control of the COVID-19 pandemic as well as in preventing similar, future pandemics.

Introduction

COVID-19 has caused a world-wide pandemic, the scale and severity of which are unprecedented. Despite the tremendous efforts taken by the global community, management and control of this pandemic remains difficult and challenging. As a coronavirus, SARS-CoV-2 differs significantly from other respiratory and/or zoonotic viruses: it attacks multiple organs; it is capable of undergoing a long period of asymptomatic infection; it is highly transmissible and significantly lethal in high-risk populations; it is well-adapted to humans since the very start of its emergence ; it is highly efficient in binding the human ACE2 receptor (hACE2), the affinity of which is greater than that associated with the ACE2 of any other potential host.

The origin of SARS-CoV-2 is still the subject of much debate.

A widely cited Nature Medicine publication has claimed that SARS-CoV-2 most likely came from nature. However, the article and its central conclusion are now being challenged by scientists from all over the world.

Continuing Reading The Full Paper

Click here to continuing reading and for citation listings. Li-Meng Yan (MD, PhD) , Shu Kang (PhD) , Jie Guan (PhD) , Shanchang Hu (PhD) & Rule of Law Society & Rule of Law Foundation, New York, NY, USA.

Government Of Belgium Battling Social Media Sites Blocking Nude Artwork

Facebook and other social media sites are blocking masterpieces of “nude” art from Rubens, Bruegel, Van Eyck and others. In an open letter, several top European Museums are asking social networks to reconsider their policy. Facebook has been in the spotlight recently for blocking content including some parts of the United States Constitution and other historical documents and multimedia content.

Artistic censorship continues to pursue Peter Paul Rubens. In the 17th century, the Flemish Baroque painter was asked by the Catholic Church to paint camouflaging ‘loincloths’ over certain body parts of his Venus figures. Nowadays, social media networks, including Facebook, go one step further. All breasts, buttocks and cherubs painted by artists such as Rubens are banned on these platforms. ‘Bots’ on Facebook use artificial intelligence to screen for nudity, but do not make a distinction between pornographic images or nudity in art. Flanders – the perfect place to enjoy the Flemish Masters in all their glory – is denouncing this artistic censorship in a playful manner. At the Rubens House, ‘nudity viewers’ with a Facebook account were blocked from viewing nudity by a group of “social media police agents”.

Peter Paul Rubens Flemish Master Painter

The Flemish Masters are best experienced in Flanders, the number one destination for art lovers. After all, this is where Rubens, Bruegel and Van Eyck lived and worked. Their work can often be found still hanging in the very same places for which they were made. “We want to promote this unique experience,” says Peter De Wilde, CEO of VISITFLANDERS. “Our Flemish Masters attract hundreds of thousands of visitors to Flanders each year and we are proud of this achievement.

Pieter Bruegel Flemish Master Painter

With our multi-year program focusing on Rubens, Bruegel and Van Eyck, which was launched in 2018, we are aiming for three million visitors by the end of 2020. At the moment it is not possible for us to promote our unique cultural heritage via one of the most popular social media networks. Our art is categorized as being indecent and sometimes even pornographic. This is such a shame as it restricts the promotion of our Flemish Masters.”

Eve detail Ghent Altarpiece by Jan van Eyck
Eve detail Ghent Altarpiece by Jan van Eyck

The agency in charge of promoting tourism in Flanders, Belgium explains that they have invested 30 million US dollars in 2018 to improve the experience of cultural travelers visiting that region, especially in cities like Antwerp, Bruges, Ghent and Brussels. Now they can’t promote some of those museums due to restrictive policies applied by some online social networks.

Jan van Eyck Flemish Master Painter

‘We are for it and not against it’ is what the people of Flanders say. Peter De Wilde explains, “Social media and art have a lot in common. Art brings people together. Social media brings people together, and our Flemish Masters too. This is why we want to enter into discussions with Facebook so that we can use this platform as one way in which to make our art visible. Surely it’s not that difficult to differentiate between cultural heritage and gratuitous nudity?”

VISITFLANDERS position is supported by several top museums in Belgium and around Europe. In an open letter, the institutions ask Mark Zuckerberg to revise Facebook’s policy related to art, culture and heritage. Click here to read the open letter.

“We tried various channels to bring this matter to Facebook’s attention. Unfortunately nobody listened,” De Wilde explains. Flanders hopes the comedy video produced in Rubens’s House will facilitate a discussion to solve the issue and allow users to view this content that is present in encyclopedias and elementary school grade text books. “Flanders is a unique art destination. But because we are naturally modest in Flanders, we do not shout out about it often enough. This stunt enables us to make our presence felt and also honor the spirit of Pieter Paul Rubens. He was an artistic rebel who was not afraid of engaging in social debate. There’s no finer tribute to honor our Flemish Master than by taking up the battle against unnecessary artistic censorship.”  For the Silo, Marcos Stupenengo.

About the Flemish Masters.
For over 250 years, from the 15th to long into the 17th century, Flanders was a figurehead for fine arts in Western Europe and the source of inspiration for well-known art movements of the time, such as the Flemish primitives, the Renaissance and the Baroque. Artists were known for their craftsmanship, creativity and technical innovations and they transformed the prosperous and urbanized Flanders into one of the most refined cultural regions with their impressive artistic and architectural creations.

About Peter Paul Rubens, master of female nudity.
Rubens is the best-known Flemish Master. This Baroque painter, illustrator and diplomat was one of the most celebrated artists of the 17th century. He exerted a particularly strong influence. He was a master of color, composition and painting techniques and also an expert in painting female nudity. His nude figures – which often refer to mythical beings – appear extremely lifelike, made from flesh and blood, with a fair amount of cellulite and with all kinds of body shapes visibly on display.

About Antwerp, the home of the Flemish Baroque movement.
Lonely Planet selected the best cities to visit in 2018 and included Antwerp in its top 10. According to the travel guide, Antwerp is one of Europe’s best kept secrets. And there is certainly plenty to see and do there in 2018. The “Antwerp Baroque 2018. Rubens inspires” festival shows you the finest places in Antwerp: www.antwerpbaroque2018.be

Harmonium Once Banned By All Indian Radio

There is general disagreement on whether Indian music can be performed on the harmonium and public interest in the debate is accordingly intense, as the controversially written articles and discussions prove to this day.

Harmonium InstrumentThe matter has evaded scientific scrutiny until now…….click the following link to learn more about the harmonium in North Indian music:  Full Text PDF- The Harmonium in North Indian Music by Birgit Abels.

https://uni-goettingen.academia.edu/birgitabels

Published by NEW AGE BOOKS

A-44 Naraina Industrial Area, Phase I

New Delhi 110028 (India)

Email: nab@vsnl.in *Please mention this article when contacting.

Website: www.newagebooksindia.com

Printed in India at Shri Jainendra Press

A-45 Naraina, Phase I, New Delhi 110028

Supplemental-

More dogma in North American Archaeology ? Euro-style tools being discounted.

Levallois lithic technology in the USA? The cores tell the story by Richard Doninger  EDS. DISCLAIMER- We reproduce here a portion of our disclaimer from Doninger’s PCN Part1 article. Doninger’s collection is controversial and may indeed be a mix of genuine artifacts and geofacts.

One of the primary reasons to look at his material is the story he tells. It is one that the founders, members, and many readers of PCN (click here) are very familiar with. It involves a mainstream science community that is so dogmatic in its beliefs that it is willing to both block evidence or not even look at evidence that might challenge those beliefs. These beliefs include that there were no genuinely ancient people in the Americas and that early people throughout the world were less intelligent than us.

The idea that Lower, Middle, or Early Upper Paleolithic-style tools (in the European archaeology sense) are present in the Americas and mainstream resistance to the possibility is something that founding members geologist Virginia Steen-McIntyre (volcanic ash specialist), archaeologist Chris Hardaker, and geologist, the late Sam L. VanLandingham (diatomist) are/were all too familiar with as are also copy editors Tom Baldwin and David Campbell. This is not to mention the layout editor’s experience of censorship regarding evidence disproving cognitive evolution.

So, in a field where censorship of challenging evidence is routine—anthropology—virtually every  proclamation the field makes needs to be questioned. One thing that we can be certain of is that once someone becomes “professional” in this field, in all likelihood, they will already be strongly opinionated regarding what is possible.

Dr. Steen-McIntyre, who started this regular feature section of PCN make it as a means to encourage avocational archaeologists and to help them raise the bar above the mere collecting of artifacts (the easy part) to adopting as many professional practices as possible especially in the recording and presenting of their finds. While Doninger’s artifacts are all surface collected, with few specific details of their discoveries recorded he does, nonetheless, present an interesting case that Levallois technology was established and varied in the southwest Indiana (c. Evansville) region.

Our publishing of Rick’s series is not an endorsement of his collection per se, but a reminder that we in the U.S. need to hold our anthropologists accountable as objective scientists, and, like in the field of astronomy, take the contributions of its amateur enthusiasts with a degree of interest.

Fig.1_R.Doninger-article_PCN-may-june2015WEB

In Part 1, I shared the story of my initial experience in trying to get input from the mainstream American archaeology community regarding Levallois artifacts including cores I have found in southwest Indiana (e.g., Fig.1) They repeatedly told me that such lithic technology wasn’t present in this country. After many years of research and communication with many professionals, I came to realize a few things that I wasn’t aware of. The first thing is that just because someone is an archaeologist by profession it does not mean that they have any expertise in lithic technology from prehistoric times.

The second is that just because an archaeologist has expertise in Native American lithic technology, does not mean they have any knowledge about lithic technology of early man such as that found abroad, e.g., “Levallois.” This leads to the third and most disappointing which is that many mainstream archaeologists will pretend to know a great deal more about the subject than they actually do and, often, rather than admit that they don’t will fall into simply towing the party line and coming back with a standard mainstream answer should you offer them any kind of evidence that challenges their long held beliefs such as about our origins or how old were the “first Americans” or who might they have been.

I guess one lesson I have learned well is that PhD B.S. is still discernible as B.S. even to a window cleaner such as myself and even though the attempt to camouflage it in scholarly data is present.

After almost two decades of inquiry and research on early lithic technology it seems to me that there is still very little known by American archaeologists about what is considered late Lower or Middle Paleolithic technology such as that found in sites abroad which are “usually” associated with Neanderthal occupations. The terms “Acheulian,” “Mousterian,” or “Levallois” all seem to produce perplexed looks when mentioned in most archaeologist circles and among those who are considered experts in the area of ancient flint tools and flint knapping.

Fig.2_R.Doninger-article_PCN-may-june2015WEB

Having said all of these things, I would like to share a bit from an amateur perspective on the subject. I mentioned in my last PCN article that I was told by lithic experts abroad that the only way to identify Levallois lithic reduction was to have some of the cores from which the proposed Levallois flake tools were struck.

Levallois cores are very distinct in appearance and are rarely mistaken for later type technologies such as those blade cores from what is considered the Upper Paleolithic.

There are at least four known core preps which I have found to be considered Levallois which yield several different flake types used in producing a fairly wide variety of tools found from what is considered the late Lower and Middle Paleolithic. All of these are unmistakably different from the American Clovis and later technologies commonly found in the USA.

Those four include the most commonly described “tortoise” (refer to Fig. 1, above), the “centripetal or discoidal” (refer to Fig.2, above),“triangular or chapeau de gendarme,” and the “blocky” core (see Fig.3 below)- all of which yield a very specific type of tool which are similar in morphology and are mostly made on flakes rather than blades (which are the hallmark of most known Native American technologies).

When archaeologists or collectors discover lithic scatters or “debitage” left from Clovis or later archaic tool production it is very recognizable to the trained eye familiar with Native American tool industries. The same applies with Levallois technology and the debitage produced from it. It is unmistakable to the trained eye but can remain virtually invisible to the eye programmed to see Clovis and later evidence, which seems to have been the case for decades now among American archaeologists. They have been recognizing only the evidence that they have been trained to see. That can now change as there is sufficient evidence in enough quantity to recognize what has been considered late Lower and Middle Paleolithic technology all over the world and is now available for analysis here in the USA.

Fig.3_R.Doninger-article_PCN-may-june2015WEB

If “the cores tell the story” it can now be told because we have the cores! For this article I have included an example of each core preparation as well as an example point tool (see Fig.4 below) made on Levallois flakes from such cores. A close look at the cores will reveal the negative triangular scars from where triangular flakes were struck revealing the method of reduction.

Levallois lithic reduction has been shown to be a more productive method of tool making in general than the later blade technologies as a wider range of tools can be produced by making the tools on flakes rather than blades. Contrary to the most commonly held belief that later blade technologies such as Clovis or Solutrean were more advanced, I personally believe the Levallois reduction resulted in a much wider range of tools from the same basic core preps which leave one to conclude that it is actually more advanced and complex than those who are assumed to have come later in history.

Over the last several years I have  witnessed many who claim expertise in flint knapping who are able to produce virtually every kind of Native American “arrowhead” or bifacial blade tool commonly seen within the known Clovis or later tool industries. Some talented knappers can produce a very fine Clovis point in a matter of minutes and other arrowheads present little challenge in reproduction; but rare are the ones who can reproduce Levallois tools. How the flakes are struck so systematically and consistently from the same core preparation remains a mystery to most. One simply cannot appreciate the complexity of the industry without having such an industry to observe and most American archaeologists have never seen much less handled tools from an actual Levallois assemblage.

Fig.4_R.Doninger-article_PCN-may-june2015We have in recent years witnessed various claims of alleged “pre-Clovis” tools having been found. There are the tools from Meadowcroft Rock Shelter, Buttermilk Creek, Paisley Cave, Cactus Hill, Topper and others, each producing artifacts believed by the finders to represent cultures living here prior to those which produced the famed Clovis industry.

Unlike Clovis technology which has been found in sufficient quantity to establish an identifiable industry, none of the alleged pre-Clovis artifacts have been proven to be of an identifiable technology which has been seen anywhere else in the world in contexts believed to be older than Clovis, leaving only speculation and theory in regard to an actual identifiable “industry” to accompany the claims of a “pre-Clovis” origin.

This is not the case in regard to the assemblages of Levallois artifacts such as the ones being found in as many as eight different states now. These collections clearly display a specific identifiable technology commonly found in sites around the world which are always believed to be from contexts thousands of years older than any yet recorded in the USA. The scholarly critics of “pre-Clovis” claims often use the reasoning that none of the sites have produced a “coherent set of lithic artifacts” to justify the claims.

Having seen much of the lithic evidence from the sites such as Buttermilk Creek and Meadowcroft, I can understand the reluctance to welcome such scant evidence to support the claims because of the absence of a recognizable technology.

Levallois technology is not ambiguous when it is found, regardless of the location. The name is the first indicator in the process of identification…”prepared core.” When such cores are found, identification of the “industry” can begin and an understanding of the actual “technology” becomes comprehensive.

Although I am only showing a few cores and point tools in this article, there are hundreds more in my possession to support my claims of an actual “industry” based on Levallois reduction.

As I have stated previously, I am making no claims regarding the age of these artifacts but rather the “technology” of the tools which is clearly paralleled in the later Acheulian and Middle Paleolithic Mousterian industries of the Old World.

Although the images shown are some of the basic cores and points of the industry, there are also dozens of other tool types present in our assemblages such as burins, blades, hand axes, bolas, scrapers, planes, awls, ochers and effigies. Tools made on the cores themselves are also common, displaying the life of the core and its utilization as different tools during the reduction process of extracting flakes for points, blades and other utensils.

Although considered and labeled as “primitive man” technology when found abroad to support the proposed “out of Africa” human migration theory, I disagree with such labels and assumptions in regard to this technology. Levallois reduction obviously requires both planning and skillful execution to produce such an industry in such an efficient use of available lithic material resources.

The presence of what has been called “old world” technology here in the USA clearly shows that what is being taught in regard to our origins as a nation is wrong and needs to be acknowledged by those who are promoting such error. The evidence is as solid as the rock from which it is hewn. For the Silo (from PCN Vol7 Issue3)- Richard Doninger, a surface-artifact collector living in Evansville southwest Indiana.

Eds. Comment- Rick makes a very interesting case for a lithic technology that appears to be little-known to archaeologists in the U.S. There is still the problem that the artifacts are not documented as to the exact context of each, which, unfortunately, limits the value of the specimens.

However, if the technology is as abundant as Rick’s collection suggests, we simply recommend that he “re-collect” duplicate examples from specific locations with an exacting record of what he has found and where.

Avocational archaeology is a special section of Pleistocene Coalition News started by PC founding member, Dr. Virginia Steen-McIntyre, to encourage amateur archaeologists.

Click to view on I-tunes
Click to view on I-tunes

 

 

 

 

 

 

 

 

 

 

 

 

 

Money For Nothing Is About Angry Men

I have been following, with some amusement, the media firestorm unleashed since the Canadian Broadcast Standards Council decided in mid-January that the classic, 25 year old Dire Straits song Money for Nothing must be censored. According to the CBSC, times have changed and the word “faggot” is now inappropriate for Canadian airwaves. The CBC, National Post, and newspapers from Edmonton to Ottawa have all weighed in, including our own Simcoe Reformer, expressing outrage over the censorship of a critically acclaimed work of art and, well, political correctness just generally gone mad. While I agree that this is a censorship issue, you have to dig to find commentary about why it’s such an interesting one.

If you put the lyrics together with the music video, the song appears to be written from the perspective of two furniture and appliance movers watching the early days of MTV at work. They are making their case to one another, colourfully, that rock stars get their “money for nothing” (you’ll recognize the song title) and their “chicks for free—” the implication being that if these two very hardworking fellows are getting any “chicks,” it’s because they’ve paid for them. The lyrics at the centre of the debate are as follows:

“The little faggot with the earring and the makeup (ya buddy, that’s his own hair).
The little faggot’s got his own jet airplane. The little faggot is a millionaire.”

Now that really is a lot of “faggots” for family hour, to be sure. But in context, the song does not read as homophobic. On the contrary, it is a parody of some hard-talking, blue collar guys and their feelings about rock stars—written, remember, by rock stars (and yes, that is Sting on background vocals).
I was in high-school when this song came out and I can’t tell you how many jocks and future frat boys sang it to me on the bus, thinking they were making a cruel and clever joke. The irony wasn’t lost on me. They weren’t paying attention: not to the song, or to themselves, or to the  disconnect between their affection for makeup and leotard wearing glam-metal bands like Poison and Cinderella—even Motley Crew—and calling me “gay” for dressing like I was in The Cure. But I guess that’s more hypocrisy than irony, and this is starting to become revenge.

Here’s another level of irony: censoring the word “faggot” actually neuters songwriter Mark Knopfler’s commentary on, if not homophobia, then at least a kind of prejudice based, seemingly, in resentment. Knopfler’s characters—and that is what they are—see the stars of MTV as representative of an easy life, as far away from their backbreaking drudgery as the moon. Looked at in this way, they are not quite the same as the blustery boys on my school bus. But they have something in common: for them, calling someone a “faggot” isn’t necessarily a comment on sexual orientation. It’s more a measurement of traditional masculinity.

But what about blatant racism? There’s another line in this song that’s not even part of the current censorship debate. “What’s that,” our refrigerator movers continue? “Hawaian noises? They’re bangin’ on those bongos like a chimpanzee.” OK, apparently there have been no angry calls to the Standards Council about that line. If there was any doubt before, Knopfler’s picture of these men is now crystal clear…if you’re paying attention.

The moral of this story? I’ll tell you my favourite: It is a dangerous thing to release a controversial work of popular art that requires careful reading. And one question remains: who taught the brainiacs at the CBSC to read? JS

CBSC is the Canadian Broadcast Standards Council, who act to ensure that an acceptable code of operation is met for media broadcast. This means that they control what you and I are “allowed” to hear and see. If you agree that censoring a classic rock song because it has been misinterpreted is wrong, please add a “like” to the link on our Facebook wall. It seems that Canadians have been blocked from viewing the unedited Dire Straits Money for Nothing video from Youtube as well, so here’s a little gem to enjoy instead. – Content Producer