Top Secret America

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Re: Top Secret America

Postby dada » Thu May 27, 2021 3:03 pm

They'd never release anything ideally, maybe. But they also accept the modern state of the battlefield. It's a more fluid world.

Now the battlespace is still actual space in realtime present moment. Who holds the space, same as always. But the new battlespace is not a space but time, and the objective is who holds the attention, thereby controlling the future.

They really think this way, don't sell it short. So I agree, we shouldn't look away in contempt, but understand the reflexive strategy, to respond how and when at the moments of our choosings, and not theirs, for maximum impacts.

I feel like it should be said that seeing the recruitment campaign element isn't an invitation here to start in looking for it everywhere. Like our dear friend the manatee, taking the ball through the goalposts and not stopping to spike it, continuing on, right out of the stadium.

Chew tobacco, rookie. I still think that deserves to be on a tshirt. Out of sight. But more importantly maybe, and it seems I can't emphasize it enough, is that I'm not abandoning all reason with my hope, the macro-view is not a view of all mass consumers as sims with no free will. The actors choose to tune themselves to the rhythms of mass production.

And there may be something to the time release rhythm of information for reflexive control, and so the modern battlespace as really time, and these same rhythms of mass production. Like, maybe tuning into mass production is really the only "grand plan" possible, or necessary. The only one that adequately fits the description of anything that we can truly say is "the plan."
Both his words and manner of speech seemed at first totally unfamiliar to me, and yet somehow they stirred memories - as an actor might be stirred by the forgotten lines of some role he had played far away and long ago.
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Re: Top Secret America

Postby dada » Thu May 27, 2021 6:13 pm

But I guess the issue at hand now is this question of damage control. Like, something leaks or otherwise gets out, the complex goes into damage control mode. Spin and stuff. What we pay them for.

Now, I'm saying that damage control can be thought of as a tactic, integrated into larger operations. At what point does the pressure to go into damage control mode because of the impending information dump on the near horizon, become one of many possible scenarios accounted for at the start of the operation, each with a probability quotient, or something of the sort, and with the mechanisms already in place if and when the damage control scenario plays out?

Like, at what point does damage control become capitalizing on circumstance. I guess it's when the benefit can be spun to exceed the cost.
Both his words and manner of speech seemed at first totally unfamiliar to me, and yet somehow they stirred memories - as an actor might be stirred by the forgotten lines of some role he had played far away and long ago.
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Re: Top Secret America

Postby dada » Mon May 31, 2021 2:43 pm

The question here, I think, is of the nature of what is plainly "hiding in plain sight." If it is plainly hiding, it obviously wasn't hidden very well in the first place, and we are left to wonder whether it was left there like that deliberately, to be found. What is actually hiding in plain sight isn't seen by anyone at first, and can only be found by each for themselves, never by a society, for each.

That's maybe the whole trouble with the things that are actually hiding in plain sight. It brings up the idea of the finger pointing at the moon. The point is the finger is not the message, and so not the medium. But the moon is both media, and message. Leaves the finger unidentified. Who is pointing at the moon, what do they wish to indicate that we look at, and why?

The image of the finger pointing at the moon, though, is media, and so message, itself. So the image itself is pointing at something else, always at the moon behind it.

So anyway, I'm wondering if the metaphor of "peeling back the layers of the onion" has lost its usefulness. Maybe we could consider a different metaphor. Like, instead of getting to the bottom of it. Maybe like, now we're looking at the perfect radish.

I just saw the perfect radish. I took a picture, but can't share it without making the file smaller, take too much time just to turn this post in a social media food-fest. Got me thinking about ideal, platonic forms, though, and how the perfect radish is only an indication, just like all the other radishes even the misfit ones, of the actual, ideal form of the radish, which is all radishes, or "all radish."

So in the spirit of "call any vegetable," or princess tomato in the salad kingdom, we're saying that the thread topic needs an overhaul, an update, to snap us out of the stupor we've fallen into like rip van winkle. Get out there like industrialized radish farmers, wearing our radish-picking, ergonomic power-assist suits.

(Mechanism evaluation of agricultural power assist suit under development)
https://www.jvejournals.com/article/17391
Both his words and manner of speech seemed at first totally unfamiliar to me, and yet somehow they stirred memories - as an actor might be stirred by the forgotten lines of some role he had played far away and long ago.
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Re: Top Secret America

Postby dada » Mon May 31, 2021 11:26 pm

I'm thinking about this idea of not looking away in contempt from the shock and spin tactics of normalization of the criminal status quo. Preemptive dismissal by turning up the nose and looking down on it and sniffing at it, I suppose.

I'm thinking that firstly this could only apply to people who have a basic grasp of how the sausages are made. So, people like me and you. And we already know that we don't look away like that, we see it in all it's technicolor horrorific glory. So I have to wonder, who is the advice for?

Secondly, I don't know about you, but the feeling I get is nothing like snooty contempt. It's total, complete and utter disgust.

So the problem for me is more about separating the disgust that I feel when I look at mass culture, and the disgust I feel when I see the "efforts at normalization." I try to feel compassion with my disgust in the first case.
Both his words and manner of speech seemed at first totally unfamiliar to me, and yet somehow they stirred memories - as an actor might be stirred by the forgotten lines of some role he had played far away and long ago.
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