Tag Archives: space race

True Cases Of Phantom Transmissions And Hijacked Television Signals

The call letters KLEE-TV had not been broadcast since July 1950, more than 3 years before a viewer in London, England picked up their transmission on his television set.

Adding to the mystery was the fact that while in operation KLEE-TV was based out of Houston, Texas- an entire continent and ocean away. Since this was an era before satellite t.v. transmission how could the images be picked up? Was it simply a hoax?

klee tv signal cardThough debunkers have stated that this story first appeared in Readers Digest, it actually was first reported in 1953 by TV Guide: a viewer based magazine that organized and listed television programming and reviewed highlighted television shows. Hugely successful and widely distributed- it seems counter-intuitive to consider how this might affect an already paranoid and anxious viewer body. After all, the Cold War and the Space Race were underway. Many Americans were building nuclear bomb shelters and keeping their eyes to the skies.

Television was still a new form of media and to many it transcended the boundaries of space of time.

It seemed possible that ghostly transmissions from another time and another place could occur. TV Guide pointed out in its story that at the time of the phantom KLEE-TV transmission, no other t.v. station in the world used those call letters.

For the next 12 year this enigma was forgotten but then in February 1962 Mrs. Rosella Rose of Milwaukee, Wisconsin witnessed the following. The KLEE-TV letters were flashed onto her screen as well as the images of an unknown man and woman arguing on a balcony, followed by the flashing of the word “HELP!” Then suddenly, her screen went blank. It seemed as though Mrs. Rose had witnessed an electronic netherworld. Could an alternate universe be superimposing its reality onto hers? The simplest answer is that Mrs. Rose was a victim of her time.

Phantom signal transmission in Stranger Things.
Phantom signal transmission in Stranger Things.

Perhaps as mentioned in Haunted Media Static and Stasis, “….The fleeting and inexplicable transmissions of KLEE are eerie in that they are symptomatic of a general loss of self presence felt socially in electronic communications as a whole.” I think it’s safe to say that Canadian Film Director David Cronenberg felt this way and successfully incorporated these themes into Videodrome. I think it’s also safe to say that the success of the recent Netflix series Stranger Things is due in some part to this notion of a technologically created netherworld. And what about the Australian reports of a Coke bottle and drinking flask being transmitted during the Moon Landing?

Today there are reports of phantom webcam transmissions, of strange beings quickly seen on a monitor or a tablet. If we are able to view images on our devices then is it so far fetched to imagine that we ourselves can be seen by others through our devices? And if that’s possible to what end are we being surveilled? For the Silo, Jarrod Barker.

The Max Headroom Signal Intrusion Incident of 1987

Captain Midnight HBO Transmission Hijacking

Recommended Reading- Haunted Media Electronic Presence From Telegraphy to Television by Jeffrey Sconce

Far Reaching Effects Of Visual Culture In Our World Of Appearances

Dusty book stall archeologist and writer Jonathan Guyer oversees the far reaching effects of visual culture in our modern ‘all about appearances’ world.

Jonathan Guyer on CBC -Canada Broadcasting Corporation 

Through frequent excursions to the bookshops of downtown Cairo in Egypt,  Guyer has unearthed a wealth of forgotten political narratives and overlooked illustrative histories. Book-ending his fascination with the alternative story lines of locally appropriated Western comics, Guyer’s faith in the ethical and ideological potential of cartoons and satirical imagery extends to the underground artistic movements of contemporary self-published zine-makers. In his eloquent interview, the prolific and level-headed writer remarks on welcome shifts in the Middle Eastern visual landscape, the necessary and terrifying obligations of artists, and the autonomy of art in an authoritative society.

Bascha Mon Prince Street Rag oil on canvas

Adaptive and indomitable painter Bascha Mon has traced each frame of light between the new and full moons. Bound to spontaneity and guided by intuition, Mon’s practice feels out a logic from the sanctuary and purgatory of a blank canvas. Impelled by the psychic pains of a laboring human family, Mon retrieves the fragments of her commiserating heart from the cold grasp of reality, like pulling her distorted reflection from the surface of the water. Expressed in her stirring and poignant interview, Mon’s necessary attachment to art conceals a deep solidarity with the misplaced souls of the Earth, who struggle to make sense of an existence where whimsy and intense meaning coexist. The sage observer and painter is never dissatisfied by an individual work, as no piece is anything less than perfect if it belongs to a whole.

Shipping Container is a book on Literary Theory by Craig Martin

Reading something interesting?

Tom Allen, is ensnared by the vehement poems of mid 19th century writer Jules Laforgue, the progenitor of free verse in the French tradition and treasure to the great modernist poets. Laforgue fashioned his fervent style of observation from the fiery idealism of the symbolists and the microcosmic subjectivity of impressionism. Another one of our users, Niels Van Tomme, is pleasantly amused by the playful and engaging Shipping Container, Craig Martin’s contribution to the Object Lessons series. Martin’s colorful prose enlivens the itinerant existence of this ubiquitous transport vessel, the unsung hero of our convenient and mobile world.

Urging the flow of time and water is the promise of change made by a fork in the stream.

For the Silo, Brainard Carey.

The Night The CIA Borrowed A Soviet Space Capsule

A number of years ago the Soviet Union toured several countries with an exhibition of its industrial and economic achievements. There were the usual standard displays of industrial machinery and models of power stations and nuclear equipment.

Of greater interest to the CIA were apparent models of the Sputnik and Lunik space vehicles. U.S. intelligence twice gained extended access to the Lunik- the second time even borrowing it overnight and returning it before the Soviets missed it.

This is a true story of close cooperation between covert and overt intelligence components.

Declassified Lunik CIA Kidnapping

On View Abroad

The Soviets. had carefully prepared for this exhibition tour; most of the display material was shipped to each stop well in advance. But as their technicians were busily assessing the various items in one exhibition hall they received a call informing them that another crate had arrived. They apparently had not expected this item and had no idea what it was, because the first truck they dispatched was too small to handle the crate and they had to send a second.

The late shipment turned out to be the last-stage Lunik space vehicle, lying on its side in a cabin-like crate approximately 20 feet long and 11 feet wide with a roof about 14 feet high at the peak. It was unpacked and placed on a pedestal. It had been freshly painted. and three inspection windows cut in the nose section permitted a view of the payload instrument package with its antenna.

Declassified Lunik CIA Kidnapping

It was presumably a mock-up made especially for the exhibition; the Soviets would not be so foolish as to expose a real production item of such advanced equipment to the prying eyes of imperialist intelligence. Or would they? A number of analysts in the U.S. community suspected that they might, and an operation was laid on to find out. After the exhibition closed at this location, a group of intelligence officers had unrestricted access to the Lunik for some 24 hours.

DECLASSIFIED Authority NND 947003

The Lunik

They found that it was indeed a production item from which the engine and· most electrical and electronic components had been removed. They examined ·it thoroughly from the ·viewpoint of probable. performance, taking measurements, determining its structural characteristics estimating engine size, and so forth but not with sufficient detail or precision to permit a definitive identification of the producer or determination of the system used. It was therefore decided to try to get another access for a factory team.

Plans and Problems

As the exhibition moved from one city to another, an intercepted shipping manifest showed an item called .. models of astronomic apparatus whose dimensions were approximately those of the Lunik crate. This information was sent to the CIA Station nearest the destination with a request to try to arrange secure access if the Lunik should appear. On the basis of our experience at trade fairs and other exhibitions, we preferred access before opening of an exhibition to the alternatives of examining it while in the exhibition hall or after it had left the grounds for another destination.

Soon the Lunik crate did arrive and was taken to the exhibition grounds. The physical situation at the grounds, however, ruled out access to it prior to the show’s opening. Then during the show the Soviets provided their own 24 -hour guard for the displays, so there was no possibility of making a surreptitious night visit. This left only one chance: to get to it at some point after it left the exhibition grounds. In the meantime our four-man team of specialists from the Joint Factory Markings Center had arrived. We brought along our specialized photographic gear and basic tools. We each went out and bought a set of local clothes, everything from the skin out.

We held a series of meetings with Station personnel over the course of a week, mutually defining capabilities and requirements, laying plans for access and escape, and determining what additional equipment we would need. The Station photographed the Lunik crate repeatedly so we would get a better idea of its construction. ~

Photographs showed that the sides and ends were bolted together from within; the only way to get inside was through the roof. We therefore bought more tools and equipment-ladders, ropes, a nail puller, drop lights, flashlights, extension cords, a pinch bar, a set of metric wrenches, screwdrivers, hammers.

After the exhibition the displays would be carried by truck from the exhibition grounds toa railroad station and loaded onto freight cars for their next destination. For the interception we had to choose between the truck run and the rail haul. The initial preference was for the latter; it seemed the freight car carrying the Lunik might most easily be shunted onto a siding (preferably into a warehouse) for a night and resume its journey the next morning. A detailed check of our assets on the rail line however, showed no good capability for doing this. Careful examination of the truckage to the station, on the other hand, revealed a possibility.

DECLASSIFIED Authority NND 947003

Lunik

Lunik on Loan

As the exhibition materials were crated and trucked to the rail yard, a Soviet checker stationed at the yard took note of each item when it arrived. He had no communications bade to his colleagues at the fair grounds, however. It .was arranged to make the Lunik the last truckload of the day to leave the grounds. When it left it was preceded by a Station car and followed by another; their job was to determine whether the Soviets were escorting it to the rail yard.

When it was clear that there were no Soviets around, the truck was stopped at the last possible tum-off, a canvas was thrown over the crate, and a new driver took over.

The original driver was escorted to a hotel room and kept there for the night. The truck was quickly driven to a salvage yard which had been rented for the purpose. This yard was open to the sky but had a10-foot solid wood fence around it. With some difficulty the truck was backed in from a narrow alley and the gates closed; they just cleared the front bumper. The entire vicinity was patrolled by Station cars with two-way radios maintaining contact with the yard and the Station .

Declassified Lunik CIA Kidnapping

Action was suspended for half an hour: Everything remained quiet in the area, and there· was no indication that the Soviets suspected anything amiss. The Soviet stationed at the rail yard waited for a short time to see whether any more truckloads were coming then packed up his papers and went to supper. After eating he proceeded to his hotel room, where he was kept under surveillance all night.

The markings team, in local clothes and without any identification, were cruising in a car some distance from the salvage yard. We were now given the all-clear to proceed to the yard and start work.We arrived about 7:30 p.m. and were let in by a two-man watch and communications team from the Station. They had put all our equipment and tools in the yard and food and drink for the night.

Our first task was to remove enough of the crate’s roof to get in. It was made of 2-inch tongue-and-groove planks nailed down with 5-inch spikes. Two members of the team went to work on these, perspiring and panting in the humid air. The effort not to leave traces of our forced entry was made easier by the fact that the planks had been removed and put back several times before and so were already battered.

DECLASSIFIED Authority NND 947003

The Lunik

While this was going on there was a rather unnerving incident. When we had arrived at the salvage yard it was dark; the only lights were in the salvage company’s office. Now, with two men on top of the crate prying up planks, street lamps suddenly came on, flooding the place with light. We had a few anxious moments until we learned this was not an ambush but the normal lamp-lighting scheduled for this hour.

Photographers at work 

The other two of us meanwhile were assembling the photographic gear and rigging up the drop lights with extension cords. We had ladders up at each end of the crate, and when the planks were off we dropped another ladder inside each end. The Lunik in its cradle was almost touching the sides of the crate, so we couldn’t walk from one end to the other inside.

Half the team now climbed into the front–nose–end with one set of photographic equipment and a drop light. . They pulled the canvas back over the opening to keep the flash of the strobe units from attracting attention.· They removed one of the inspection windows in the nose section, took off their shoes so as to leave no telltale scars on the metal surface, and squeezed inside. The payload orb was held in a central basket, with its main antenna probe extended more than half way to the tip of the cone. They filled one roll of camera film with close-ups of markings on it and sent this out via one of the patrolling cars for processing, to be sure that the camera was working properly and the results were satisfactory. The word soon came back that the negatives were fine, and they continued their work.

We on the other half of the team had tackled the tail section. Our first job was to gain access to the engine compartment by removing the Lunik’s large base cap; this was attached to its flange by some 130 square-headed bolts. We removed these with a metric wrench and by using a rope sling moved the heavy cap off to one side.

Inside the compartment the engine had been removed, but its mounting brackets, as well as the fuel and oxidizer tanks, were still in place. At the front end of the compartment, protruding through the center of .a baffle plate that separated the nose section from the engine, was the end of a rod which held the payload orb in place.

A four-way electrical outlet acting as a nut screwed onto the end of this rod was keyed by a wire whose ends were encased in a plastic seal bearing a Soviet stamp. The only way to free the orb so as to let the nose team into the basket in which it rested was to cut this wire and unscrew the outlet.

DECLASSIFIED Authority NND 947003

The Lunik

We checked with Station personnel and were assured they could duplicate the plastic, stamp, and wire. So we decided to go ahead and look for markings in the basket area. We cut the wire and passed it to one of the patrolling cars. The pair in the nose section photographed or hand copied all items in the basket area while we did those in the engine compartment. The Soviets, in removing all electrical connections and gear, had overlooked two couplings in the basket; these we took back to headquarters for detailed analysis.

Before we had finished, the new seal-wire, plastic, and stamp was delivered to the yard.

Returned in Good Condition

The exploitation of the Lunik was now complete; all that remained was to put things back together and close up the crate. The first job, re-screwing the orb in its basket, proved to be the most tricky and time-consuming part of the whole night’s work. The baffle plate between the nose and engine compartments prevented visual guidance of the rod into position, and the rod was just long enough to screw the outlet on beyond the baffle plate. We spent almost an hour on this, one man in the cramped nose section trying to get the orb into precisely the right position and one in the engine compartment trying to engage the threads on the end of a rod he couldn’t see. After a number of futile attempts and many anxious moments, the connection was finally made, and we all sighed with relief.

The wire was wrapped around the outlet and its ends secured in the plastic. The nose and engine compartments were double-checked to make sure no telltale materials such as matches, pencils, or scraps of paper had been left inside. The inspection window was replaced in the nose section, and with some difficulty the base cap was bolted into position. ·After checking the inside of the crate for evidence of our tampering we climbed out. The ladders were pulled up, the roof planks nailed into place, and the canvas spread back over. We packed our equipment and were picked up by one of the cars at 4:00a.m.

At 5:00 a.m. a driver came and moved the truck from the salvage yard to a prearranged point. Here the canvas cover was removed and the original driver took over and drove to the rail yard. The Soviet who had been checking items as they arrived the previous day came to the yard at 7:00 a.m. and found the truck with the Lunik awaiting him.

DECLASSIFIED Authority NND 947003

He showed no surprise, checked the crate in, and watched it loaded onto a car. In due course the train left. To this day there has been no indication the Soviets ever discovered that the Lunik was borrowed for a night.

The results of analysis on the data collected were published in a Center Brief. They included probable identification of the producer of this Lunik stage, the fact that it was the 6fth one produced, identification of three electrical producers who supplied components, and revelation of the system that was used here and conceivably for other Soviet space hardware. But perhaps more important in the long term than these positive intelligence results was the experience and example of fine cooperation on a job between covert operators and essentially overt collectors.

ELEKTRO MOSKVA- Intriguing Documentary About Soviet Music Synthesizers

I spent most of yesterday afternoon watching and taking notes from the 86 minute documentary ELEKTRO MOSKVA. This film is so rich and interesting that I found myself sitting in reflection every time I jotted down another intriguing story element…..and believe me there were lots.

Stanislav Kreichi with ANS - world's first 'draw sound' synthesizer.
Stanislav Kreichi with ANS – world’s first ‘draw sound’ synthesizer.

The film’s official website describes itself like this: “ELEKTRO MOSKVA is an essayistic documentary about the beginnings of the Soviet electronic age and what remained of it- a huge pile of outdated, fascinating devices. Today they are being recycled and reinterpreted by musicians, inventors and traders, who carry that legacy on into an uncertain future. An electronic fairy tale about the inventive spirit of the free mind inside the iron curtain- and beyond.”

An example of everyday Soviet Russia DIY- In 1970 TV's were readily available but not antennas.
An example of everyday Soviet Russia DIY- In 1970 TV’s were readily available but not antennas.

Well all of that is certainly true but I discovered something deeper….. something partially hidden and really only stated at the end of the documentary: A metaphysical connection between electronic instruments, their circuitry and between immortality and rejuvenation. A sort of Frankenstein subplot. And that makes ELEKTRO MOSKVA much more interesting. It lingers and stays with you as all great films and documentaries tend to do.

Leon Theremin

Leon Theremin
Leon Theremin

Leon Theremin

If the inventor of the world’s first electronic instrument- The Theremin is to believed, his experimentation with electronic instrument designs led to techniques that allowed rejuvenation of human life and the bringing of the dead back to life. Kooky stuff to be sure but in our modern age of DNA manipulation and Stem Cell research shouldn’t we keep our minds open to all biological possibilities? Why is it so obtuse to think that electronic manipulation holds the key to immortality? The brain is after all- a sort of electronic computer. Why else would Russia have kept the body of Lenin whole and entombed for over a hundred years? Perhaps I’m getting ahead of myself- let’s move instead to the birth of Communist Synthesizers.

A Ghost of Communism: The backdrop for the film

It began with the Soviet electrification of the country. As Russian homes and farms became wired, Science and Technical Progress became heralded by the state as ‘the new Gods’. In 1926 Léon Theremin ( Lev Sergeyevich Termen ) invented an early form of television which was adapted for border security use and classified. At the same time, the state decided that technological developments were only considered legit and legal if they strengthened communism.

Alexey Borisov
Alexey Borisov

The long awaited electrical revolution expected by the masses and any notions of new, exciting products in Russian homes became instead a sort of electrified jail and super factory. Then, after Russia had successfully developed nuclear bombs and orbited the first man in space- things changed. A celebration of technical progress and Soviet achievement became politicized through the use of synthetic music and sound. Found out what happened next by watching ELEKTRO MOSKVA online in HD. Highly recommended. For the Silo, Jarrod Barker.

Click me! New Music created from early sci-fi soundtracks incl. Theramin cameos.
Click me! New Music created from early sci-fi soundtracks incl. Theremin cameos.

Photo Glitch Art Book Is Mysterious And Beautiful

“The growing flow of digital culture depends on the hidden protocols of its underlying systems. To explore how interfacing shapes spectatorship online, this pioneering study pinpoints experiences of flow through the friction of photo-based glitch art by Phillip Stearns, Rosa Menkman, and Evan Meaney.

Glitch photo

Homing in on the viewer, these three cross-disciplinary case studies present and analyze material that is new to the art-historical context. In particular, they focus on how glitched artworks in online environments make viewers aware of their own activity within the flow, causing a break from the increasingly naturalized integration of system and individual.

Glitch ArtbookMysterious and Beautiful

When a glitch invites the viewer to try out different positions in relation to the system, a tactical spectatorship unfolds.” That’s the introduction text of Vandela Grundell’s  book Flow And Friction: On The Tactical Potential Of Interfacing With Glitch Art. In simpler terms, our modern online life utilizes smartphones and digital cameras to not only represent who we are, but to present to others ‘how’ we are.

It’s a culture of ‘identity sharing’ that we live in and we are spending more and more time at online sites and hangouts where our digital selves mingle as shared photos, text and videos. However, sometimes things do not go as planned. Perhaps a faulty internet connection wreaks havoc with an upload…or maybe a dying battery in your i-Phone confuses the CPU and errors are introduced into the system creating a digital mutation.

glitch font

In the early days of computer, during the great Cold War and its technologically dependent Space Race this was known as a ‘glitch’.

Flow and Friction is a fascinating celebration of the mystery and the beauty that sometimes arises from glitched systems. 238 pages. Recommended.  For the Silo, Jarrod Barker.

Supplemental: Moire pattern, John Glenn’s “glitch” , the History of the word “bug” when used in Computing.

Falcon9 and Dragon blast-off LIVE stream

Life imitates art....space is beginning to be serviced by private companies just as Ian Fleming suggested it would in Moonraker. Who can forget Drax and his fleet of private spaceshuttles? CP
Life imitates art….space is beginning to be serviced by private companies just as Ian Fleming suggested it would in Moonraker. Who can forget Drax and his fleet of private spaceshuttles? CP

 

 

 

 

Click  to open Rocket Launch LIVE window

 

Drax :-: "First there was the dream, now there is reality. Here in the untainted cradle of the heavens will be created a new super race, a race of perfect physical specimens. You have been selected as its progenitors, like gods your offspring will return to Earth and shape it in their image. You have all served in public capacities in my terrestrial empire. Your seed like yourselves will pay deference to the ultimate dynasty which I alone have created. From their first day on Earth they will be able top look up and know that there is law and order in the heavens."  Hugo Drax Villain Moonraker
Drax :-: “First there was the dream, now there is reality. Here in the untainted cradle of the heavens will be created a new super race, a race of perfect physical specimens. You have been selected as its progenitors, like gods your offspring will return to Earth and shape it in their image. You have all served in public capacities in my terrestrial empire. Your seed like yourselves will pay deference to the ultimate dynasty which I alone have created. From their first day on Earth they will be able top look up and know that there is law and order in the heavens.” Hugo Drax Villain Moonraker