The new findings bring the total number of UAP cases under review to more than 1,600 as of June 2024.
A photo from the Department of Defense shows an “unidentified aerial phenomenon.” Department of Defense
There were 757 reports of unidentified anomalous phenomena (UAP) between May 2023 and June 2024, according to an unclassified Department of Defense (DOD) report released on Nov. 14.
Congress mandated the annual report by the DOD’s All-Domain Anomaly Resolution Office (AARO), which is tasked with studying and cataloging reports of UAPs, formerly referred to as UFOs.
The report said that AARO received 757 UAP reports from May 1, 2023, to June 1, 2024, and “485 of these reports featured UAP incidents that occurred during the reporting period.”
“The remaining 272 reports featured UAP incidents that occurred between 2021 and 2022 but were not reported to AARO until this reporting period and consequently were not included in previous annual UAP reports,” the report reads.
The new findings bring the total number of UAP cases under AARO review to more than 1,600 as of June.
AARO Director Jon Kosloski said at a Nov. 14 media briefing that the findings have left investigators puzzled.
“There are interesting cases that I, with my physics and engineering background and time in the [intelligence community], I do not understand,“ Kosloski said. ”And I don’t know anybody else who understands them either.”
Some cases were later resolved, with 49 determined to be sightings of common objects such as balloons, birds, and unmanned aerial systems. Another 243, also found to be sightings of ordinary objects, were recommended for closure by June. However, 444 were deemed inexplicable and lacking sufficient data, so they were archived for future investigation.
Notably, 21 cases were considered to “merit further analysis” because of anomalous characteristics and behaviors.
Despite the unexplained incidents, the office noted that it “has discovered no evidence of extraterrestrial beings, activity, or technology.”
The report said UAP cases often had consistent patterns, described as having unidentified lights and as orb-shaped or otherwise round objects with distinct visual traits.
Of the new cases, 81 were reported in U.S. military operating areas, and three reports from military air crews described “pilots being trailed or shadowed by UAP.”
The Federal Aviation Administration reported 392 unexplained sightings among the 757 reports made since 2021.
In one such case, the AARO resolved a commercial pilot’s sighting of white flashing lights as a Starlink satellite launched from Cape Canaveral, Florida.
“AARO is investigating if other unresolved cases may be attributed to the expansion of the Starlink and other mega-constellations in low earth orbit,” the report states.
The AARO report maintains that none of the resolved cases has substantiated “advanced foreign adversarial capabilities or breakthrough aerospace technologies.” The document also states that the AARO will immediately notify Congress if any cases indicate such characteristics, which could suggest extraterrestrial involvement.
The report emphasized the AARO’s “rigorous scientific framework and a data-driven approach” and safety measures while investigating these phenomena.
UAP Hearing
The report was released a day after a House Oversight Committee hearing titled “Unidentified Anomalous Phenomena: Exposing the Truth,” during which witnesses alleged government secrecy surrounding the phenomena.
During the hearing, a former DOD official, Luis Elizondo, said, “Advanced technologies not made by our government or any other government are monitoring sensitive military installations around the globe.”
He testified that the government has operated secret programs to retrieve UAP crash materials to identify and reverse-engineer alien technology.
“Furthermore, the U.S. is in possession of UAP technologies, as are some of our adversaries. I believe we are in the midst of a multi-decade secretive arms race, one funded by misallocated taxpayer dollars and hidden from our elected representatives and oversight bodies,” Elizondo said.
“Although much of my government work on the UAP subject still remains classified, excessive secrecy has led to grave misdeeds against loyal civil servants, military personnel, and the public, all to hide the fact that we are not alone in the cosmos.
“A small cadre within our own government involved in the UAP topic has created a culture of suppression and intimidation that I have personally been victim to, along with many of my former colleagues.” For The Silo, Rudy Blalock/NTD.
Kirsty Harris depicts the most iconic man-made event that might take place in a landscape: the detonation of the atom bomb.
Often working at scale, Harris confronts her audience with a vision of awe and beauty. Mushroom clouds hang over desolate expanses of the Nevada desert, provoking contemplation at the intersection of humanity, brutality, technology and nature.
Harris’s practice is steadfast; her paintings are informed by deep research, and this arduous process is echoed in depictions of a split-second event painted over a period of several months.
– Zavier Ellis for the Saatchi exhibition 2023
Buster Jangle, Easy, 50 x 60 inches, 2016
CBP: Your paintings reconstruct photographic documents of the atomic bomb tests, often in the Nevada desert, in a range of exhibition display formats. Can you introduce the core themes of your work?
KH: I am interested in the way these events from history disrupt and scar those barren landscapes. These swirling, bubbling apparitions are like curses or spells that we’ve cast on ourselves, so violent.
My work might feel confrontational, maybe abrupt at first, then hopefully unravelling into something more. I am also drawn in by the stories and myths that run alongside the scientific nature of the subject. We all know that beauty doesn’t have a moral duty to be inherently good. It’s something I think about, the push and pull of awe. The tests made in the desert are so fascinating, the photographs are very rich, colourful, and vivid, due to the way the light refracts and the type of film used. These practice runs at annihilation are so beautiful – it’s unreal. It’s dark.
Georg, oil on un-stretched linen, 59 x 79 inches, 2023
CBP: You talk about early memories and family history in attending CND rallies as a child. Can you discuss this influence on the subject of your painting today?
KH: As I was becoming more and more interested in landscape painting I noticed they all have something occurring, could be farmers, the sun setting, a stormy sky, a battle, a tiny stream. Alone at Tate Modern I was looking at a painting of a single cloud by Richter and then suddenly something clicked in my head. I was walking around, eyes wide with a slack jaw, thinking “oh wow this is what I must do. Paint mushroom clouds.”
The anticipation of piling onto a coach and ending up somewhere waving my homemade banner and singing and chanting at CND protests are evocative memories from my childhood. In our doorway at home, visitors were welcomed by a massive poster of Thatcher & Reagan parodied in a Gone With The Wind movie-style poster, complete with a billowing mushroom cloud in the background. We collected protest badges and leaflets and the atmosphere was potent and thrilling, but I didn’t catch on to what we were shouting about until later. So it was always there in me. A weird relationship with the subject matter.
Plowshare, oil on linen, 80cm x 60cm, 2024
CBP: Many years ago I visited a small museum in the National Museum of Nuclear Science & History, Albuquerque, New Mexico near the atomic bomb test sites. The original photographs of the test bombs were shown alongside reportage photographs of the real bombs and their impact (I think). Also displayed was a fascinating comic book type narrative depicting the daily life of the factory workers who built the bomb and their families. I recall being quietly absorbed by the experience, though I questioned what it was I was looking at, in terms of archive material, as a museum display, and how it made me feel.
When you research and paint your subject, how do you negotiate what you feel about the source material and its transition into you what you are painting? Has it changed over time?
KH: It feels like science fiction.
Through the extensive documentation of nuclear detonations, I can view how these expansive entities change millisecond to millisecond, from the fireball to the pure white cloud left hanging at the end. In my publication, Completely er, unfolding itself (2019), I transcribed the first live official television broadcast of an atomic explosion – given the code name ‘Charlie’ – in 1942. The reporters struggle, grasping for the language to describe the mushroom cloud in front of them – and I get where they were coming from.
We are in such close proximity right now to digital versions of war. Scrolling through instagram you have temu trying to sell you some shitty plastic drawers and then 1 second later a mother holding her tiny dead child wrapped in tarpaulin, and worse. It’s so brutal.
I keep thinking how can we be doing that to ourselves, can they never see themselves in the faces of the people they kill and torture. Nothing is worth this brutality.
I guess my brain is always negotiating how much to watch in order to feel informed but not go reeling into despair, like all of us.
Blue Danube, Oil paint on lightbox tondo, 80cm x 80cm x 11cm, 2023
CBP: In 2007 Mark Wallinger created ‘State Britain’, for the Tate, a meticulous recreation of real-life antiwar demonstrator Brian Haw’s banned protest camp outside the Houses of Parliament. Rather than importing elements of the real camp as a readymade, Wallinger chose to painstakingly recreate it as a painted facsimile. This solitary studio activity would have given him time to reflect on its impact, the life sacrifice Brian Haw made, and what he as an artist was recreating.
How does time and the meticulous process of painting your subject impact on the meaning of the work for you?
KH: Like the women at Greenham Common, Brian Haw was the artwork, the awesome spectacle. Inconvenient clutter. The resilience is truly remarkable. Wallinger’s piece pays tribute to this but, a little like the fake Lascaux caves. Good if you can never see the real thing, but there’s no point looking up close. I found the political implications of it very interesting.
Large paintings take me such a long time, it’s ridiculous.
I have to continually change my vantage point. If it’s possible I turn the painting upside down, take photos of it and desaturate it. Stand up painting, sit down painting. Up the ladder, sat on the floor. I always imagine the next one will be more straightforward but in 25 years, that has never happened, so why would it now? But while there is much anxiety balled up in the action of painting, it is also a hypnotic and calming process. Studying a millisecond of time for so long. I don’t know if it matters to anyone else how long I’ve looked at the painting or the source material, but the act of looking is so important to me. Displaying a painting on your wall at home, you might not realise it but with so much flashing and moving imagery invading our lives (with invitation) a semi-permanent, static, image has a big impact. I love it when there are different layers of meaning to dive into, even if they are not explicit your subconscious will identify them. Looking at an artwork every day builds up a special relationship and enriches the way my mind moves.
Buster Dog,oil on glass, 25cm x 20cm x 4cm, 2021
CBP: Scale feels important both in terms of the impact of your subject for the viewer and your immersion into it when painting it. Can you talk about this aspect of the work?
KH: When you start a painting, there are near unlimited decisions to make. One I used to have trouble with was how big it should be. So I started to use data to construct systems that help me decide. In my paintings, often each square inch (or centimetre) of linen represents a certain number of tons of TNT. This in turn is the unit of measurement chosen, by the military, to denote the yield of the detonation.
These hidden codes might reward an inquisitive viewer.
Really, what I want to do is make paintings so vast that that’s all they see and think about for a moment.
Investigating ideas of scale in a different way: Since 2013 I have been adding to and updating an audio composition entitled How I Learned to Stop Worrying (1945-2024). It is a musical account of every officially recorded nuclear explosion detonated between 1945 and the present day: each different instrument represents a country that partook; each month in history lasts a second on the recording; each note played depicts a single bomb. Eight musicians contributed to the piece and it was quite an epic translation of data to plot out the notes.
Grapple, oil paint on glass, table, 75cm x 50cm x 60cm, 2023
CBP: Can you reveal some of the mark making techniques and tools you use in your painting.
KH: On my larger paintings I staple the linen flat to the wall and then prime it with clear primer. This enables me to really push on the canvas without worrying if I will hit the crossbar. I would love to be laying down decisive, thick, final brush marks, but what comes out is me dabbing layers and layers of thin oil paint, leaving it to evaporate and then repeating the process. My paintings are usually very matt which somehow feels right given that I’m painting dust clouds and sand half the time.
I painted a lot of small paintings on glass during lockdown.
There was something comforting about the contained nature of those pieces. It is quite a different process but still I am basically dabbing on paint until it gets thick enough to create some depth. In a development from these smaller pieces I created a much larger light box piece, Blue Danube, 2023. It plays with the notions of nuclear tourism, emitting its own light in a kind of perverse advert.
Nevada, oil on board, 30cm x 40cm, 2024
CBP: Your titles are short but ranging from factual to enigmatic, how do title your work?
KH: Hard to explain how some titles come to me. A lot of the detonations use people’s names for code names, a bit like cyclones.
Some of my favourites:
“The instrument is not the Music” is the title of a tapestry where the image is a female scientist inspecting and testing a metal instrument. A still from a British documentary it shows the intricate process in a factory where workers unknowingly fabricate the components that will eventually be assembled to create an atomic bomb. tbf my boyfriend came up with that one. He is great at titles if I get stuck.
“Blue Danube” I liked because it is a river (starting in the Black Forest and ending in the Black Sea) a piece of classical music and a bomb. All the Bs, the Beautiful Blue Danube.
Always noting potential titles down in my phone notes, I also dedicate time to skim reading when I need quite a few titles at once. They always come!
Installation shot at Saatchi Gallery 2023, Charlie, oil on un-stretched linen, 112 x 69 inches, 2017
CBP: Can you talk about your studio practice routine when carrying out archival research?
KH: There is the National Archives (UK) and Internet archives (USA) which I find very useful. I trawl through images via the normal channels and in addition watch out for vintage postcards on ebay, old photographs that people have sent me from their Uncle or Grandad’s collection. Declassified documents made into pdfs. We have a decent projector at home now so it’s great to watch documentaries on a large screen. Sometimes I take screenshots from military footage so the freeze-frame I choose may not have been studied widely. It’s interesting how in some images, due to the way the camera has responded, the sky looks black and the clouds are bright white. I have some exciting opportunities coming up, some top secret documents that someone is going to let me look through. And I’d like to work out ways to access small archives. There is one in particular in Germany that looks amazing.
At the moment I’m looking for glow.
Teapot HA, oil on un-stretched linen, 64cm x 51cm, 2019
CBP: What projects are you working on at the moment?
KH: I have time to settle into the studio right now and test out some things I have been thinking through. Last year was a busy one with a solo show at Studio KIND and a big group show at Saatchi Gallery. I am looking forward to a group show in London with some top painters (heroes) next year. Plus a possible group show in New York, just waiting to find out. I also have a soft focus vision of a show in the UK in a massive derelict space. It will be nice to hibernate like a little bear in my studio this winter and come back with new energies.
Sanctuary II, oil on un-stretched linen, 302cm x 217cm, 2018
Kirsty Harris b. 1978 Raised in Yorkshire, artist and curator based in east London.
Co-founder of Come Quick Disaster and on the steering committee for Mental Health Arts organisation – Broken Grey Wires.
Recent solo and 2 person shows include; 2023 THAT LETHAL CLOUD, StudioKIND, Braunton, Devon, UK., HEAVY WEATHER, Splice, Perseverance Works, London, UK. 2022 INTERVENTION, DIY performances during the 59th Venice Biennale, Venice, Italy.
Recent group exhibitions include; 2024 LATRINE’S HAUS OF ART, Vane Gallery, Gateshead, UK. SEX SELLS – BEYOND THE HISTORICAL MATRIX, Semjon Contemporary, Berlin, Germany, HOW LONG IS FOREVER, Galerie 37, Schöneberg, Berlin, Germany. BEYOND THE GAZE – RECLAIMING THE LANDSCAPE, Saatchi Gallery, London, UK. Curated by Zavier Ellis. 2023 A GENEROUS SPACE 3, Huddersfield Art Gallery, Yorkshire, UK. Invited by Karl Bielik, TWO PLUS TWO MAKES FOUR, Auxiliary Warehouse, Middlesbrough, UK. Curated by Broken Grey Wires, THE SUBVERSIVE LANDSCAPE, Tremenheere Gallery, Cornwall, UK. Curated by Hugh Mendes. X – Contemporary British Painting, Newcastle Contemporary Art, UK. Curated by Narbi Price. 2022 ROYAL ACADEMY SUMMER EXHIBITION, Royal Academy, London, UK.
Almost three and a half decades ago, a mysterious and strikingly beautiful aircraft touched down on a dusty airfield in the Nevada desert.
The F-117 Nighthawk
Since its public reveal decades ago (consider that development started in the 1970’s on this amazing machine), the Nighthawk served with quiet distinction through the latter half of the Cold War, the first Gulf War, a kerfuffle in Yugoslavia, and the invasion of Iraq in 2003. Despite and official ‘retirement’ in 2008, the F-117 still gets spotted in the skies over Nevada where it is rumored to serve as an ‘agressor aircraft’, helping to train pilots.
What’s the F-117 about?
With it’s cyberpunk like profile and stunning angles, the F-117 Nighthawk instantly captured the public’s imagination and birthed a lot of UFO /UAP stories, especially in the late 1980’s and early 1990’s when it’s unusual shape confused expectations of what an aircraft could and should look like. A radical departure from the retro-aerodynamic curves of traditional aircraft design, the F-117’s odd shape serves a singular purpose.
Stealth.
The Nighthawk was conceived by Lockheed’s Skunk Works, a secretive development team responsible for some of the most capable aircraft of the 20th century. Designed to slip through deep Soviet territory, the Nighthawk incorporated radical new technology to achieve an incredibly small radar and thermal signature. Hard edges, radar-absorbing coatings, a unique twin-tail, and special endinge cowlings reduced the aircraft to the size of a sparrow on Soviet radar. The Nighthawk was deemed fully operational in the early 1980’s and nearly a decade her pilots and crew flight night sorties in complete secrecy. Seven years later, the USAF and the Department of Defense decided the Nighthawk would work better as a deterrent if the world knew about it and it’s capabilities.
Plans were made to reveal the aircraft to the world at Nellis AFB on April 21, 1990. Those of us who saw this event live on television will always remember the shock and awe inspiring gasp it created- nothing like it had ever been seen before and it surely looked like something from a science fiction novel or movie. On a hot spring day, a flight of two F-117s landed in front of thousands of cheering spectators, kicking off one of the most memorable air shows in US history. After opening the show, the F-117s sat quietly on the tarmac surrounded by an entourage of armed airmen and curious onlookers. Although little was said about the new “stealth fighters”- blimps, fighter jets, and mock dog fights continued the day’s entertainment in style.
Even with talks of ‘spending prioritization’ and ‘doctrinal appropriateness’, the Nighthawk has endured, in it’s own special way, for nearly 40 years. Everything about the F-117 that made it great in the 1980’s still captivates us today. It’s razor-sharp edges, futuristic technology, and it’s family tree of stealthy cousins (foreign and domestic). Here is hoping many more years of this little black triangle up in the sky… via our friends at kommandostore.com
The honorable Paul Hellyer (dec. August 2021), Canada’s former Minister of Defense, Aeronautical Engineer and Pilot appeared on Russian TV about a decade ago with Sophie Shevardnadze to discuss extraterrestrials and UFOs.
“We have a long history of UFOs and of course there has been a lot more activity in the last few decades since we invented the atomic bomb.” he said.
Hellyer has stated that “UFOs are as real as the airplanes that fly over your head.”
Former Minister of Defence for Canada Paul Hellyer
Shevardnadze asks Hellyer, “Why do you say that UFOs are as real as airplanes flying over our heads?” Hellyer responds, “Because I know that they are. As a matter of fact, they’ve been visiting our planet for thousands of years.”
Hellyer claims that UFOs have been downed by military action, and alien technology has been harnessed by Earthlings.
He stated that, as far as technology is concerned, they are light years ahead of us, and we have learned a lot of things from them. A lot of the things we use today we got from them, you know – led lights and microchips and Kevlar vests and all sorts things that we got from their technology and we could get a lot more too, especially in the fields of medicine and agriculture if we would go about it peacefully.
But, I think, maybe some of our people are more interested in getting the military technology, and I think that’s wrong-headed, and that’s one of the things that we are going to have to change, because we’re going to have to work together, all of us, everywhere on the planet.
Shevardnadze asks Hellyer if shooting down these UFOs is risking an interstellar war, and, if so, “should we be creating a Star Wars force (President Trump created the United States Space Force while in office) to defend ourselves from possible invasion or something like that?” Hellyer responds, “I think it’s a possibility, but it’s a possibility especially if we shoot down every UFO that comes into our airspace without asking who they are and what they want. Right from the beginning we started scrambling planes, trying to shoot them down, but their technology was superior enough that we weren’t able to get away with it, certainly not for a long while.
During that period of time they could have taken us over without any trouble if they wanted to, so I think, rather than developing our own Star Wars to protect ourselves against them, we should work with the benign species that are of a vast majority and work together, and rely largely on them, of course, and cooperate, so that we would be contributing something at the same time; I don’t think there’s any point in us developing a galactic force that would tempt us to ride on our own and get into mischief.”
Mr. Hellyer being interviewed on Russian Television.
“We spend too much money on military expenditures and not enough on feeding the poor and looking after the homeless and sick,’ he said.
‘They would like to work with us and teach us better ways but only, I think, with our consent. They don’t think we are good stewards of our planet.
‘We are clear-cutting forests and polluting our rivers and our lakes. We are dumping sewage in the oceans. We are doing all sorts of things which are not what good stewards should be doing and they don’t like that.’
‘Our future as a species, and here I mean all of the species in the world, is potentially at risk if we don’t figure what’s going on and work together to try and make life more amenable for all of us, and to work with our neighbors from other planets as well.’
Aliens are also responsible for some of our modern technology including the microchip, LED light and Kevlar vest, he said.
Hellyer said there has been a lot more activity with aliens in the last few decades since we invented the atomic bomb.
One of the technological advances that humans have aliens to thank for are Kevlar vests. Hellyer described one group as ‘Short Greys’ who have very slim arms and legs and are about five feet high with large heads.
While Hellyer said he has never met an alien, but has seen a UFO near his cabin on Ontario’s Lake Muskoka.
Hellyer described several types of aliens including ‘Tall Whites’ who are working with the U.S. air force in Nevada. ‘They’re able to get away with that; they had a couple of their ladies dressed as nuns go into Las Vegas to shop and they weren’t detected,’ he claimed.
Another group of aliens are called ‘Short Greys’ who have very slim arms and legs and are about five feet high with large heads. A third group are called ‘Nordic Blondes’ and Hellyer said that if you meet one you’d probably say, ‘I wonder if she’s from Denmark or somewhere.’ For the Silo, George Filer.
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.
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.
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 .
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.
Albert Einstein (left) and Robert Oppenheimer (right) warned then-President Roosevelt about a number of security threats such as Nazi Germany’s work on an atomic bomb but what they sent along in 1947 was earth-shattering.
In June of 1947 Albert Einstein and J. Robert Oppenheimer together wrote a TOP SECRET six page document entitled “Relationships with Inhabitants of Celestial Bodies”. Aliens?
It was in 1947 and it said the presence of unidentified spacecraft is accepted as de facto by the military.
It also deals with where do they come from, what should we do in the event of colonization and/or integration of peoples, and why are they here? Finally, the document addresses the presence of celestial astroplanes in our atmosphere as a result of actions of military experiments with fission devices of warfare. Einstein and Oppenheimer encourage consideration of our potential future situation and safety due to our present and past actions in space. How can we avoid a perilous fate?
Extract majestic document:
Relationships with extraterrestrial men presents no basically new problem from the standpoint of international law; but the possibility of confronting intelligent beings that do not belong to the human race would bring up problems whose solution it is difficult to conceive. In principle, there is no difficulty in accepting the possibility of coming to an understanding with them, and of establishing all kinds of relationships.
If these intelligent beings were in possession of a more or less culture, and a more or less perfect political organization, they would have an absolute right to be recognized as independent and sovereign peoples. Another possibility may exist, that a species of Homo sapiens might have established themselves as an independent nation on another celestial body in our solar system and evolved culturally independently from ours. Living conditions on these bodies let’s say the moon,-or the planet Mars, would have to be such as to permit a stable, and to a certain extent, independent life, from an economic standpoint.
Hypothetically other planets may have life forms. Water has been found on our Moon and Mars that can be separated into hydrogen and oxygen, using an electric current or the short wave radiation of the sun. The oxygen could be used for breathing purposes; the hydrogen night be used as a fuel. There is indication that the inhabitants of celestial bodies, or extraterrestrial biological entitle (EBE) desire to settle here.
1.If they are politically organized and possess a certain culture similar to our own, they may be recognized as an independent people.
2.If they consider our culture to be devoid of political unity, they would have the right to colonize. Of course, this colonization cannot be conducted on classic lines. A superior form of colonizing will have to be conceived, that could be a kind of tutelage, possibly through the tacit approval of the United Nations. We cannot exclude the possibility that a race of extraterrestrial people more advanced technologically and economically may take upon itself the right to occupy another celestial body.
The division of a celestial body into zones and the distribution of them among other celestial states. A moral entity? The most feasible solution it seem would be this one, submit an agreement providing for the peaceful absorption of a celestial race(s) in such a manner that our culture would remain intact with guarantees that their presence not be revealed. It would merely be a matter of internationalizing celestial peoples, and creating an international treaty instrument.
The presence of unidentified space craft flying in our atmosphere (and possibly maintaining orbits about our planet) is now accepted by our military. Military strategists foresee the use of space craft with nuclear warheads as the ultimate weapon of war. Attack no longer comes from an exclusive direction, nor from a determined country, but from the sky, with the practical impossibility of determining who the aggressor is.
When artificial satellites and missiles find their place in space, we must consider the potential threat that unidentified space craft pose. One must consider the fact that miss-identification of these space craft for an intercontinental missile in a re-entry phase of flight could lead to accidental nuclear war.
This document was written in 1947 but extremely relevant what with the recent United States declassified UFO release.
A few years ago, Dimitry Anatolyevich Medvedev was the tenth Prime Minister of Russia- the incumbent since 2012.
Before that, he previously served as the third President of Russia, from 2008 to 2012. The Russian Prime Minister has the second highest position in the government, after President Vladimir Putin. Medvedev, the Prime Minister of the Russian Federation comment confirms aliens are here.
After the recording of a 2015 television program, in off-air comments, he was less guarded.
He did not realize that his microphone was still open and stated: “I believe in Father Frost. But not too deeply.” he said in a jovial reply to a question about Russia’s equivalent of Santa Claus.
A journalist asked whether the president is handed secret files on aliens when receiving the briefcase needed to activate Russia’s nuclear arsenal.
Medvedev the former Russian President stated, “Along with the briefcase with nuclear codes, the president of the country is given a special ‘top secret’ folder. This folder in its entirety contains information about aliens who visited our planet,” Mr. Medvedev answered playfully.
“Along with this, you are given a report of the absolutely secret special service that exercises control over aliens on the territory of our country … More detailed information on this topic you can get from a well-known movie called ‘Men In Black’ … I will not tell you how many of them are among us because it may cause panic,” he says.
None of the television stations that interviewed Mr. Medvedev broadcast the off-air comments, but they were delivered to Reuters as a pool signal and some were shown on YouTube.
Mr. Medvedev worked closely with Vladimir Putin in St Petersburg in the 1990s and it was Mr. Putin who ushered Mr. Medvedev, now 47, into power in 2008. In case of President’s Putin’s death, resignation or impeachment, the Prime Minister becomes the temporary president until new presidential elections are held. http://beforeitsnews.com/beyond-science/2012/12/breaking-russian-prime-minister-confirms-aliens-are-here-2440158.html For the Silo, via Major (ret.) George A. Filer -Filer’s Files 49-2015
