View allAll Photos Tagged obfuscation
"From Politicians to marketers, from advocacy groups to brands - Everyone seeks to convince others has an incentive to distort, exaggerate or obfuscate the facts." ~ Unesco
The burning of the Amazon is a major catastrophe only humans could inflict upon themselves but, at any given time, there are a million smaller disasters inflicted upon our planet by the selfish and the stupid. This is a Sunday morning scene in London and thus the aftermath of a Saturday night. There are several layers to this. First and foremost is that there are people who do this and think that it is remotely acceptable or, more probably, don't think at all. Then there is that they have the materials to do it with. Precise materials notwithstanding, fast food outlets provide way too much packaging and wrapping. The authorities are not without blame. The provision of bins is often sparse (yes, they might not get used but it's a starting point) and this is justified on grounds of cost sometimes disguised as 'security concerns'. Whatever the obfuscation, the litter has to be cleared up. Easier then to empty bins than clean the streets. On this same walk but further south, the pavements of Southwark's streets were absolutely disgusting; malodorous and tacky. The refuse collectors were out and about but they too were trudging through the film of sludge beneath their feet.
TZ70_P1000934CE
001,002, two shots of a window sill from the interior of a possible residential building. Interior is covered in plants possibly fichus type plants. Outside the building are a variety of plants, possibly palm trees and cypress or oak trees. On one side of the window sill is wood paneling. 003, shot of the interior of a possible residential type building, such as a private home. Architecture style is a mix of modernist and ecological or sustainable. Floor is covered in carpet including stairwell. Wooden beams and high placed windows allow in a lot of light. A variety of plants and flora cover the floor, walls, and even wooden beams on top of the interior, ranging from palms to fichus plants, to ferns. 004-009,013,016-018, multiple shots of two females, one standing and one sitting in a possible storage room area. Woman sitting down is older and has short light hair and wears a floral patterned outfit. Standing woman has short dark hair and wears a semi formal outfit. Both of them hold and admire a porcelain type diorama of female children in Victorian or Edwardian outfits with the faces obfuscated. Desk lamps, ceiling lamps, boxes and other objects such as a mobile made of small pots occupy the background. 010,014,015, three shots of a window sill that holds a glass stained diorama of an arch with a top with the Christian symbol of a cross on it. In the middle of the arch is a representation of a dove and a small fountain, most likely representing the Christian concepts of the Holy Spirit and Baptism. Setting is most likely a church or other religious institution. 011,012, two shots of a entrance way of a possible residential environment, such as a private home. Door is made out of wood and glass. Large window sills hang overhead. A hat stand sits by the door with hats on it. A large potted plant sits by hat stand. Floor is made of stone but as it descends is covered in carpet. Outside is a large oak tree.
4me4you features - ‘HISTORIES IN FLUX’.
Artist: Tim Kent
4me4you recently had the pleasure of visiting JD Malat Gallery to view "Histories in Flux," a new series of oil paintings by the acclaimed artist Tim Kent.
The paintings exhibited at JD Malat Gallery are reflections of what the artist describes as "playing with art history." These fragmented yet visually coherent compositions of vast interiors, sculptures, historical figures, and classical nudes blur, disconnect, and reshape before the viewer's eyes, critically engaging with the systemic power structures that Western art history has fortified, but which contemporary art must continuously challenge.
"Histories in Flux" presents twelve psychologically charged portraits, architectural depictions of estates, and cultural institutions that highlight key issues related to class, access, privacy, and consumption. Kent both resists and highlights the conformity inherent in traditional painting genres, attuned to contemporary issues. His work transforms and dissects Baroque and Georgian interior spaces, revealing an ominous past with its own dimensional terrain.
Kent's playful engagement with genre—specifically the nude, portraiture, interiors, and narrative painting—results in the distortion of old art historical systems, merging tradition with the contemporary. This imbues his work with subtle criticisms that sever traditional roles of authority. His grid-like fragmentations suggest an empirical reaction from the viewer, turning the once harmonious genre of chamber painting into a realm of architectural dissonance. As Kent states, “The perspective grid becomes a visual metaphor for the interconnectivity of how we construct our visual world and it’s influences across every level of existence.”
These obscured historic scene scapes challenge our understanding of history. Busts, portraits, monuments, museum spaces, and estates serve as vessels for thematic parallels deeply rooted in classism, elitism, and power dynamics. Through his portrayal of these traditional art historical archetypes, Kent exposes the controversial and often overlooked narratives woven into the fabric of art history's canon. While institutional spaces proudly showcase their collections as symbols of cultural education and progress, beneath this veneer lies a concealed tapestry of colonial dominance, imperial knowledge systems, class stratification, and labor obfuscation. Kent's compositions unearth these underlying complex networks, dismantling and deconstructing familiar symbols of tradition. By layering their veneer of opulence and allure with shadows and uncertainties, he transforms these once-celebrated spaces into stark objects that challenge viewers to confront the uncomfortable realities obscured by centuries of glorification.
001,002, two shots of a window sill from the interior of a possible residential building. Interior is covered in plants possibly fichus type plants. Outside the building are a variety of plants, possibly palm trees and cypress or oak trees. On one side of the window sill is wood paneling. 003, shot of the interior of a possible residential type building, such as a private home. Architecture style is a mix of modernist and ecological or sustainable. Floor is covered in carpet including stairwell. Wooden beams and high placed windows allow in a lot of light. A variety of plants and flora cover the floor, walls, and even wooden beams on top of the interior, ranging from palms to fichus plants, to ferns. 004-009,013,016-018, multiple shots of two females, one standing and one sitting in a possible storage room area. Woman sitting down is older and has short light hair and wears a floral patterned outfit. Standing woman has short dark hair and wears a semi formal outfit. Both of them hold and admire a porcelain type diorama of female children in Victorian or Edwardian outfits with the faces obfuscated. Desk lamps, ceiling lamps, boxes and other objects such as a mobile made of small pots occupy the background. 010,014,015, three shots of a window sill that holds a glass stained diorama of an arch with a top with the Christian symbol of a cross on it. In the middle of the arch is a representation of a dove and a small fountain, most likely representing the Christian concepts of the Holy Spirit and Baptism. Setting is most likely a church or other religious institution. 011,012, two shots of a entrance way of a possible residential environment, such as a private home. Door is made out of wood and glass. Large window sills hang overhead. A hat stand sits by the door with hats on it. A large potted plant sits by hat stand. Floor is made of stone but as it descends is covered in carpet. Outside is a large oak tree.
4me4you features - ‘HISTORIES IN FLUX’.
Artist: Tim Kent
4me4you recently had the pleasure of visiting JD Malat Gallery to view "Histories in Flux," a new series of oil paintings by the acclaimed artist Tim Kent.
The paintings exhibited at JD Malat Gallery are reflections of what the artist describes as "playing with art history." These fragmented yet visually coherent compositions of vast interiors, sculptures, historical figures, and classical nudes blur, disconnect, and reshape before the viewer's eyes, critically engaging with the systemic power structures that Western art history has fortified, but which contemporary art must continuously challenge.
"Histories in Flux" presents twelve psychologically charged portraits, architectural depictions of estates, and cultural institutions that highlight key issues related to class, access, privacy, and consumption. Kent both resists and highlights the conformity inherent in traditional painting genres, attuned to contemporary issues. His work transforms and dissects Baroque and Georgian interior spaces, revealing an ominous past with its own dimensional terrain.
Kent's playful engagement with genre—specifically the nude, portraiture, interiors, and narrative painting—results in the distortion of old art historical systems, merging tradition with the contemporary. This imbues his work with subtle criticisms that sever traditional roles of authority. His grid-like fragmentations suggest an empirical reaction from the viewer, turning the once harmonious genre of chamber painting into a realm of architectural dissonance. As Kent states, “The perspective grid becomes a visual metaphor for the interconnectivity of how we construct our visual world and it’s influences across every level of existence.”
These obscured historic scene scapes challenge our understanding of history. Busts, portraits, monuments, museum spaces, and estates serve as vessels for thematic parallels deeply rooted in classism, elitism, and power dynamics. Through his portrayal of these traditional art historical archetypes, Kent exposes the controversial and often overlooked narratives woven into the fabric of art history's canon. While institutional spaces proudly showcase their collections as symbols of cultural education and progress, beneath this veneer lies a concealed tapestry of colonial dominance, imperial knowledge systems, class stratification, and labor obfuscation. Kent's compositions unearth these underlying complex networks, dismantling and deconstructing familiar symbols of tradition. By layering their veneer of opulence and allure with shadows and uncertainties, he transforms these once-celebrated spaces into stark objects that challenge viewers to confront the uncomfortable realities obscured by centuries of glorification.
001,002, two shots of a window sill from the interior of a possible residential building. Interior is covered in plants possibly fichus type plants. Outside the building are a variety of plants, possibly palm trees and cypress or oak trees. On one side of the window sill is wood paneling. 003, shot of the interior of a possible residential type building, such as a private home. Architecture style is a mix of modernist and ecological or sustainable. Floor is covered in carpet including stairwell. Wooden beams and high placed windows allow in a lot of light. A variety of plants and flora cover the floor, walls, and even wooden beams on top of the interior, ranging from palms to fichus plants, to ferns. 004-009,013,016-018, multiple shots of two females, one standing and one sitting in a possible storage room area. Woman sitting down is older and has short light hair and wears a floral patterned outfit. Standing woman has short dark hair and wears a semi formal outfit. Both of them hold and admire a porcelain type diorama of female children in Victorian or Edwardian outfits with the faces obfuscated. Desk lamps, ceiling lamps, boxes and other objects such as a mobile made of small pots occupy the background. 010,014,015, three shots of a window sill that holds a glass stained diorama of an arch with a top with the Christian symbol of a cross on it. In the middle of the arch is a representation of a dove and a small fountain, most likely representing the Christian concepts of the Holy Spirit and Baptism. Setting is most likely a church or other religious institution. 011,012, two shots of a entrance way of a possible residential environment, such as a private home. Door is made out of wood and glass. Large window sills hang overhead. A hat stand sits by the door with hats on it. A large potted plant sits by hat stand. Floor is made of stone but as it descends is covered in carpet. Outside is a large oak tree.
Details obfuscated to preserve surprise...
Kayt's opening is tonight @ 58 in Jersey City!
Directions -->here
Something from Embreeville State Hospital which has been torn down. I used to call it "Embersville" for obfuscation.
This was my buddy Ken's fiance and he was shooting her and I was just taking handheld shots while they worked. She's very tiny as these chairs were made for small, handicapped children. The back of the chair has slots for straps to be used to hold the child upright in the chair, or perhaps to restrain them.
Previously published in a selectively colorized version. See first comment below.
I saw him at the street of fangun.and he reminded me of the story of KABULWALA which i read during my school days.he has the same look of the character as i have carved in my mind. and the story goes like this.
Rehmat (KABULWALA), a middle-aged fruit seller from Afghanistan, comes to Calcutta to hawk his merchandise and befriends a small Bengali girl called Mini who reminds him of his own daughter back in Afghanistan. He puts up at a boarding house along with his countrymen.
One day Rehmat receives news of his daughter’s illness through a letter from his country and he decides to leave for his country. Since he is short of money he decides to sell his goods on credit for increasing his business. Later, when he goes to collect on his money, one of his customers abuses him and in the fight that ensues Rehmat warns that he will not tolerate abuse and stabs the guy when he does not stop the abuse.
In the court Rehmat's lawyer tries to obfuscate the facts but in his characteristic and simple fashion Rehmat states the truth in a matter of fact way. The judge, pleased with Rehmat's honesty, gives him 10 years' rigorous imprisonment instead of the death sentence. On the day of his release he goes to meet Mini but discovers that she has grown up into a 14-year old girl and is about to get married. Mini does not recognize Rehmat, who realizes that his own daughter must have forgotten him too. Mini's father gives Rehmat the money for travel out of Mini's wedding budget to which Minnie agrees; she also sends a gift for Rehmat's daughter.
001,002, two shots of a window sill from the interior of a possible residential building. Interior is covered in plants possibly fichus type plants. Outside the building are a variety of plants, possibly palm trees and cypress or oak trees. On one side of the window sill is wood paneling. 003, shot of the interior of a possible residential type building, such as a private home. Architecture style is a mix of modernist and ecological or sustainable. Floor is covered in carpet including stairwell. Wooden beams and high placed windows allow in a lot of light. A variety of plants and flora cover the floor, walls, and even wooden beams on top of the interior, ranging from palms to fichus plants, to ferns. 004-009,013,016-018, multiple shots of two females, one standing and one sitting in a possible storage room area. Woman sitting down is older and has short light hair and wears a floral patterned outfit. Standing woman has short dark hair and wears a semi formal outfit. Both of them hold and admire a porcelain type diorama of female children in Victorian or Edwardian outfits with the faces obfuscated. Desk lamps, ceiling lamps, boxes and other objects such as a mobile made of small pots occupy the background. 010,014,015, three shots of a window sill that holds a glass stained diorama of an arch with a top with the Christian symbol of a cross on it. In the middle of the arch is a representation of a dove and a small fountain, most likely representing the Christian concepts of the Holy Spirit and Baptism. Setting is most likely a church or other religious institution. 011,012, two shots of a entrance way of a possible residential environment, such as a private home. Door is made out of wood and glass. Large window sills hang overhead. A hat stand sits by the door with hats on it. A large potted plant sits by hat stand. Floor is made of stone but as it descends is covered in carpet. Outside is a large oak tree.
Sprint and I broke up July 11th 2008. Tax Adjustment? For what? It's almost been two years! And what am I going to do with $4.72? Buy a Wiha 26706 Torx Screwdriver With Precision Handle?
(Account Obfuscating Icons Provided By Picnik)
Pronghorn Cloudy Ridgeline
For a Pronghorn Buck to allow himself to get ridge lined is always fun. When I convince one to so cooperate, I prefer there to be a wondrous Cloud Scape to back his twilight silhouette. 😜
This afternoon was one of long shadows. Only part of the sky was exposed to the sun. The Pronghorn and I were in deep shadow of the clouds further obfuscating the remaining light from the set sun. The view over my shoulder was all in dark shadow. Heavy storm clouds were on that horizon. The grounds mists further obfuscating the clear view that way.
No light worthy of your attention that way. I turn my lenses off away from the dark sky. Looking to catch the back show of the clouds in all it’s 50 mile span of landscape. But this young guy got in my way. I did actually get to move a bit but I didn’t have enough topography behind me to get the landscape lower beyond this close ridge. Unfortunately, there was no way for me to gain altitude short of standing on the roof of my truck lol. No far horizon for me this time lolol.
He was good about me moving around as there was a HUGE deep gully between our two positions. I’m thinking he was feeling pretty secure. Intrusions much closer than 200 yards usually get their attention. Even really skittish Pronghorn are good past that typically. It’s hard to sneak up on them running around in the backcountry. I’ve seen their red line humans aren’t to cross even further out.
Location: Bliss Dinosaur Ranch, Wyoming / Montana borderlands (Wyotana)
Title: Pronghorn Cloudy Ridgeline
Bitcoin Mixers: How Do They Work and Why Are They Used? twitter.com/DrakeBeuyet Bitcoin Bitcoin Mixers: How Do They Work and Why Are They Used? Bitcoin offers pseudonymity to users by design. But in order to be completely anonymous, you’ll need to use tools like bitcoin mixers. Centralized vs. decentralized mixers There are two main types of bitcoin mixers: Centralized mixers: like Blender.io. Decentralized mixers: such as Wasabi and JoinMarket. Centralized mixers are companies that will accept your bitcoin and send back different bitcoins for a fee. While they offer an easy solution for tumbling bitcoin, they also still present a privacy challenge, as while the links between “incoming” and “outgoing” bitcoin will not be public, the mixer itself will still have a record that connects the transactions. Meaning that in the future the company could give up those records and reveal a users' connection to the coins. Decentralized mixers employ protocols such as CoinJoin to fully obscure transactions via either a coordinated or peer-to-peer method. Basically, the protocol allows a large group of users to join together an amount of bitcoin (i.e. 100 people want to mix 1 bitcoin each) and then redistribute it so everyone gets 1 bitcoin back, but no one can tell who got what or where it came from. Problems with using mixers Mixers are not without their flaws. It’s unlikely that someone else in the mixer sent the exact amount of bitcoin as you, minus the tumbler’s fee. If a law enforcement agency knows the address used by its first suspect, and if the second suspect is the only one to have received a little less of a specific amount, it’s not going to be too hard to reconnect the flow of money. This problem becomes harder to solve the more people use the mixer. Some exchanges don’t allow mixed bitcoin to enter or leave exchanges. Since exchanges can identify mixers, they label mixed bitcoin ‘tainted." Binance, for instance, has blocked withdrawals to Wasabi, a privacy-preserving bitcoin wallet that integrates a popular mixing service called CoinJoin. Other popular bitcoin mixers include Samourai and JoinMarket. It’s important to note that not all mixing services are legitimate, and some are far less effective at obscuring financial transactions than others. Be sure to do your research before using a mixer. Are bitcoin mixers illegal? The ability to obfuscate bitcoin transactions makes mixers an obvious hotbed for money laundering, attracting the likes of tax dodgers and criminals interested in hiding the proceeds of illegal activity. The question of whether using these services is illegal depends on which jurisdiction you are based in. In February 2021, then-U.S. Deputy Assistant Attorney General Brian Benczkowski said that using mixers to hide crypto transactions “is a crime.” Two months later, U.S. authorities arrested Roman Sterlingov, aka the Russian-Swedish founder of bitcoin tumbling service “Bitcoin Fog,” for helping people launder $335 million. In August 2021, Larry Harmon, the owner of a bitcoin mixer called Helix, pleaded guilty to helping darknet market criminals launder around $300 million. New anti-money laundering rules, like the Financial Action Task Force’s “travel rule” and the European Union’s AMLD-5 directive, will make laundering money tougher, and could make bitcoin tumblers less viable for people who want to join in the wider crypto economy – the sort that relies on popular exchanges accepting your coins.
001,002, two shots of a window sill from the interior of a possible residential building. Interior is covered in plants possibly fichus type plants. Outside the building are a variety of plants, possibly palm trees and cypress or oak trees. On one side of the window sill is wood paneling. 003, shot of the interior of a possible residential type building, such as a private home. Architecture style is a mix of modernist and ecological or sustainable. Floor is covered in carpet including stairwell. Wooden beams and high placed windows allow in a lot of light. A variety of plants and flora cover the floor, walls, and even wooden beams on top of the interior, ranging from palms to fichus plants, to ferns. 004-009,013,016-018, multiple shots of two females, one standing and one sitting in a possible storage room area. Woman sitting down is older and has short light hair and wears a floral patterned outfit. Standing woman has short dark hair and wears a semi formal outfit. Both of them hold and admire a porcelain type diorama of female children in Victorian or Edwardian outfits with the faces obfuscated. Desk lamps, ceiling lamps, boxes and other objects such as a mobile made of small pots occupy the background. 010,014,015, three shots of a window sill that holds a glass stained diorama of an arch with a top with the Christian symbol of a cross on it. In the middle of the arch is a representation of a dove and a small fountain, most likely representing the Christian concepts of the Holy Spirit and Baptism. Setting is most likely a church or other religious institution. 011,012, two shots of a entrance way of a possible residential environment, such as a private home. Door is made out of wood and glass. Large window sills hang overhead. A hat stand sits by the door with hats on it. A large potted plant sits by hat stand. Floor is made of stone but as it descends is covered in carpet. Outside is a large oak tree.
The trailer obfuscates the $500.00 motorcycle that Rose bought a year and a half ago and never learned how to ride.
This complex is the most important archaeological center in the Urubamba Valley, after Ollantaytambo and Pisac. The ruins are impressive, although the conservation of the site is inferior to that of Ollantaytambo or Pisac, because they are older.But unlike the places mentioned above Huchuy Qosqo has a peculiar architecture: the buildings have been built on polished stone bases of fine finish, with clay plaster (they are the best preserved parts) and the highest floors are made of adobe.There is a kallanka (rectangular enclosure that could measure up to 70 meters long and that were important state centers where Inca officials were staying) of at least 40 to 50 meters long. Also a remarkable building with two stone floors and an adobe upper one. There are also large terraces, a very large square and a large Inca gate through which a very well preserved road leads from Tambomachay.The Hispanic chronicles indicate that Huchuy Qosqo (probably a site known in Inca times as Caquia Jaquijahuana) was the work and favorite place of the Inca Wiracocha. To this, Maria Rostworoski adds, in her work "History of Tahuantinsuyo", that this sovereign strengthened the conquest over the villages of the Urubamba valley and that he chose as his successor his son Inca Urco who, dizzy with power and vice, He proved to be totally unable to govern. The Inca royalty was very obfuscated with this election and tried to conspire to impose another son of Wiracocha, Prince Cusi Yupanqui. Social unrest and tension increased every day and to make everything worse, the darkest night fell over Cuzco: the Chancas reached the gates of the capital and were willing to destroy it. It is the year of 1438. Wiracocha leaves the city to his fate and, accompanied by his son Inca Urco, takes refuge in its palaces in the Urubamba Valley, among which was Huchuy Qosqo.After the Hispanic conquest, Gonzalo Pizarro found here the mummy that supposedly belonged to the Inca Wiracocha and ordered it burned. The descendants of the Inca kept the ashes in a jar that many years later the chronicler Polo de Ondegardo would discover.HOW TO VISIT:It is possible to visit Huchuy Qosqo in three ways, the first one walking from Cusco and Tambomachay along the Inca trail. The other way is up from the Sacred Valley after crossing the Wilcamayo River (now Vilcanota), from Chinchero.HUCHUY QOSQO TREK INFORMATION.
Corrections and Clarifications
2001 – 2005, 5 volumes, varying dimensions, varying edition sizes
Corrections and Clarifications is a newspaper-in-progress, an edited compilation of daily corrections to international news printed in English-language newspapers from September 2001 through January 2005. A chronological catalog of repetitive lapses in naming and tanglings of catch-phrases, Corrections and Clarifications hints at a more than incidental relation between news mis-speak and consolidated media interests.
Inspired by the news in October 2001 that the US government had purchased exclusive rights to all satellite imagery of its bombing of Afghanistan, the first volume of Corrections and Clarifications was produced in November 2001 as a particular filter through which to consider the overwhelming consistency of US response to the events of September 11. Rather than claim the wartime prerogative to control the distribution of imagery of the bombing of Afghanistan, the Bush administration opted to simply out-spend any competing media outlet, effectively avoiding (by taking them off the market) that these images would ever become accessible to the general population. To readers-between-thelines, this act signified the extent to which the financial power to buy up information replaced even a superficial discourse about ethics of public information or a free press
Following are the introductory statements for the 5th edition of the project, January 2005:
Purely editorial credit, as always, to those who have provided the material for these pages by having seen fit to correct themselves, or having seen themselves fit to correct others; who have sought in some public way to offer apologies or clarifications-to redeem, reveal, revise, retract or shift, to simultaneously claim, deny, and re-attribute blame and responsibility-for the well-documented efforts to apologize for what is being done and for what has already been done, for continuing attempts to un-say what has been said, un-mean what is meant.
Credit at a variety of levels to those processors, middle managers, and ultimate regulators of public information who take it upon themselves to re-name, re-classify, disguise, de-fuse or be de-briefed; who find clever metaphors to obfuscate, euphemize and mystify; who disseminate information and distribute resources according to political structures to coincide with particular economic interests; who agree to use language and numerous, dubious forms of temporary authority to defend, justify, legitimize, cushion, cover and eventually expose the consequences of actions and the submerged structures behind events.
And ultimately who, regardless of intentions, occasionally reveal something, piece by piece, through slips in language and naming systems. Luckily it is not so easy to dispose of the evidence. (…)
So this is a newspaper without headlines, allowing such doubletalk to talk to itself. Perhaps what is conveyed unintentionally, and by repetitious mistakes, is significantly more revealing, more historically identifiable, and substantially less conciliatory than it is meant to be.
This is both fortunate and inevitable. (…)
Extracts from the text Corrections and Clarifications
It is difficult to imagine an innkeeper who made himself depicted with a scroll in his hand. Whereas it seems much more plausible that the imposing subject characterized by a severe and scrutinizing gaze - clad in a silk shirt, a cloak with a fur collar, and a large beret - corresponds to a tax collector. But whoever the subject is, the portrait is regardless one of the most beautiful and incisive that Dürer ever created. He manages, with an image constrained by such a limited space, to communicate the impression of being in front of a personality of a supremely concentrated energy - and all that by using simple and pale colors, whose effect is unfortunately partly obfuscated by the heavy varnish covering the painting.
The Postcard
An A & H Burlesque Series postcard that was published by the Art and Humour Publishing Co. of Chancery Lane, London WC. The artwork was by Fred Spurgin, and the card was printed in Great Britain.
The card was posted in north London using a 1d. stamp on Tuesday the 19th. August 1924. It was sent to:
Miss J. Martin,
301, King's Road,
Chelsea,
London SW.
The pencilled message on the divided back of the card was as follows:
"Dear J,
Just a card to let you
know that I arrived back
safe.
What weather today!
Weather permitting I will
see you tomorrow
(Wednesday). Don't forget.
Good morning,
Fred xxxxxx"
The First Ascent of Mount Fitzsimmons
So what else happened on the day that Fred posted the card?
Well, the 19th. August 1924 marked the first ascent of the 2,603 metre (8,540 ft) Mount Fitzsimmons, in British Columbia. The climb was made by a party of Canadian mountaineers from the British Columbia Mountaineering Club.
Willard Boyle and the Birth of Digital Photography
The day also marked the birth, in Amherst, Nova Scotia, of Willard Boyle.
Willard was a Canadian physicist and 2009 Nobel Prize in Physics laureate for "the invention of an imaging semiconductor circuit – the CCD sensor, which has become an electronic eye in almost all areas of photography."
In 1969, Willard Boyle and George E. Smith invented the CCD (charge-coupled device), for which they jointly received the Franklin Institute's Stuart Ballantine Medal in 1973, the 2006 Charles Stark Draper Prize, and the 2009 Nobel Prize in Physics.
The CCD allowed NASA to send clear pictures back to Earth from space. It is also the technology that powers many digital cameras today. Smith said of their invention:
"After making the first couple of imaging
devices, we knew for certain that chemistry
photography was dead."
In retirement Willard split his time between Halifax and Wallace, Nova Scotia. In Wallace, he helped launch an art gallery with his wife, Betty, a landscape artist. He was married to Betty since 1946 and had four children, 10 grandchildren and 6 great-grandchildren.
In his later years, Boyle suffered from kidney disease, and due to complications from this disease, died at the age of 86 in hospital in Nova Scotia on the 7th. May 2011.
The Leopold and Loeb Trial
Also on the 19th. August 1924, the state began its closing arguments in the Leopold and Loeb trial.
Nathan Freudenthal Leopold Jr. (1904 - 1971) and Richard Albert Loeb (1905 - 1936) were two wealthy students at the University of Chicago who kidnapped and murdered 14-year-old Bobby Franks in Chicago in May 1924.
They committed the murder - characterized at the time as "The Crime of the Century" - as a demonstration of their ostensible intellectual superiority, which they believed enabled and entitled them to carry out a "perfect crime" without consequences.
After the two men had been arrested, Loeb's family retained Clarence Darrow as lead counsel for their defense. Darrow's 12-hour summation at their sentencing hearing is noted for its influential criticism of capital punishment as retributive rather than transformative justice.
Both young men were sentenced to life imprisonment plus 99 years. Loeb was murdered by a fellow prisoner in 1936; Leopold was released on parole in 1958.
Leopold and Loeb's Murder of Bobby Franks
Leopold and Loeb, who were 19 and 18 respectively at the time, settled on kidnapping and murdering a younger adolescent as their perfect crime.
They spent seven months planning everything, from the method of abduction to disposal of the body. To obfuscate the actual nature of their crime and motive, they decided to make a ransom demand, and devised an intricate plan for collecting it involving a long series of complex instructions to be communicated, one set at a time, by phone.
They typed the final set of instructions involving the actual money drop in the form of a ransom note, using the typewriter stolen from the fraternity house. A chisel was selected as the murder weapon and purchased.
After a lengthy search for a suitable victim, mostly on the grounds of the Harvard School for Boys in the Kenwood area, where Leopold had been educated, the pair decided upon Robert "Bobby" Franks, the 14-year-old son of wealthy Chicago watch manufacturer Jacob Franks.
Bobby Franks was Loeb's second cousin and an across-the-street neighbor who had played tennis at the Loeb residence several times.
Leopold and Loeb put their plan in motion on the afternoon of the 21st. May 1924. Using an automobile that Leopold rented under the name Morton D. Ballard, they offered Franks a ride as he walked home from school.
The boy initially refused, because his destination was less than two blocks away, but Loeb persuaded him to enter the car to discuss a tennis racket that he had been using.
The precise sequence of events that followed remains in dispute, but a preponderance of opinion placed Leopold behind the wheel of the car while Loeb sat in the back seat with the chisel.
Loeb struck Franks, who was sitting in front of him in the passenger seat, several times in the head with the chisel, then dragged him into the back seat and gagged him, where he died.
With the body on the floor of the back seat, the men drove to their predetermined dumping spot near Wolf Lake in Hammond, Indiana, 25 miles (40 km) south of Chicago.
After nightfall, they removed and discarded Franks' clothes, then concealed the body in a culvert along the Pennsylvania Railroad tracks north of the lake.
In order to obscure the body's identity, they poured hydrochloric acid on Franks' face and genitals to disguise the fact that he had been circumcised, as circumcision was unusual among non-Jews in the United States at the time.
The Ransom Note
By the time the two men returned to Chicago, word had already spread that Franks was missing. Leopold called Franks' mother, identifying himself as "George Johnson", and told her that Franks had been kidnapped; instructions for delivering the ransom would follow.
After mailing the typed ransom note and burning their blood-stained clothing, then cleaning the blood stains from the rented vehicle's upholstery, they spent the remainder of the evening playing cards.
Once the Franks family received the ransom note on the following morning, Leopold called a second time and dictated the first set of instructions for the ransom payment.
The intricate plan stalled almost immediately when a nervous family member forgot the address of the store where he was supposed to receive the next set of directions, and it was abandoned entirely when word came that Franks' body had been found.
Leopold and Loeb destroyed the typewriter and burned a car blanket that they had used to move the body. They then went about their lives as usual.
Chicago police launched an intensive investigation and rewards were offered for information. Both Leopold and Loeb enjoyed chatting with friends and family members about the murder. Leopold discussed the case with his professor and a girl friend, joking that he would confess and give her the reward money.
Loeb helped a couple of reporter friends of his find the drug store he and Leopold had tried to send Jacob Franks to, and when asked to describe Bobby he replied:
"If I were to murder anybody, it would
be just such a cocky little son of a bitch
as Bobby Franks."
Police found a pair of eyeglasses near Franks' body. Although common in prescription and frame, they were fitted with an unusual hinge purchased by only three customers in Chicago, one of whom was Leopold.
When questioned, Leopold offered the possibility that his glasses might have dropped out of his pocket during a bird-watching trip the previous weekend.
Leopold and Loeb were summoned for formal questioning on the 29th. May. They asserted that on the night of the murder, they had picked up two women in Chicago using Leopold's car, then dropped them off some time later near a golf course without learning their last names.
However their alibi was exposed as a fabrication when Leopold's chauffeur told police that he was repairing Leopold's car while the men claimed to be using it.
Also the chauffeur's wife confirmed that the car was parked in the Leopold garage on the night of the murder. The destroyed typewriter was recovered from the Jackson Park Lagoon on the 7th. June.
Confessions
Loeb was the first to confess. He asserted that Leopold had planned everything and had killed Franks in the back seat of the car while he (Loeb) drove. Leopold's confession followed swiftly thereafter. He insisted that he was the driver and Loeb the murderer.
Their confessions otherwise corroborated most of the evidence in the case. Both confessions were announced by the state's attorney on the 31st. May.
Leopold later claimed, long after Loeb was dead, that he pleaded in vain with Loeb to admit to killing Franks. He quoted Loeb as saying:
"Mompsie feels less terrible than
she might, thinking you did it, and
I'm not going to take that shred of
comfort away from her."
Most observers believed that Loeb did strike the fatal blows. Some circumstantial evidence – including testimony from eyewitness Carl Ulvigh, who claimed that he saw Loeb driving and Leopold in the back seat minutes before the kidnapping – suggested that Leopold could have been the killer.
Both Leopold and Loeb admitted that they were driven by their thrill-seeking, Übermenschen (supermen) delusions, and their aspiration to commit a "perfect crime".
Neither claimed to have looked forward to the killing, but Leopold admitted interest in learning what it would feel like to be a murderer. He was disappointed to note that he felt the same as ever.
The Trial of Leopold and Loeb
The trial of Leopold and Loeb at Chicago's Cook County Criminal Court became a media spectacle. The Leopold and Loeb families hired the renowned criminal defense attorney Clarence Darrow to lead the defense team.
It was rumored that Darrow was paid $1 million for his services, but he was actually paid $70,000 (equivalent to $1,200,000 in 2022). Darrow took the case because he was a staunch opponent of capital punishment.
While it was generally assumed that the men's defense would be based on a plea of not guilty by reason of insanity, Darrow concluded that a jury trial would almost certainly end in conviction and the death penalty.
Thus he elected to enter a plea of guilty, hoping to convince Cook County Circuit Court Judge John R. Caverly to impose sentences of life imprisonment.
The trial, technically an extended sentencing hearing, as their guilty pleas had already been accepted, ran for thirty-two days.
The state's attorney, Robert E. Crowe, presented over 100 witnesses, documenting details of the crime.
The defense presented extensive psychiatric testimony in an effort to establish mitigating circumstances, including childhood neglect in the form of absent parenting, and in Leopold's case, sexual abuse by a governess.
One piece of evidence was a letter written by Leopold claiming that he and Loeb were having a homosexual affair. Both the prosecution and the defense interpreted this information as supportive of their own position.
Darrow called a series of expert witnesses, who offered a catalog of Leopold's and Loeb's abnormalities. One witness testified to their dysfunctional endocrine glands, another to the delusions that had led to their crime.
Darrow's Speech
Darrow's impassioned, eight-hour-long "masterful plea" at the conclusion of the hearing has been called the finest speech of his career. Its principal arguments were that the methods and punishments of the American justice system were inhumane, and the youth and immaturity of the accused:
"This terrible crime was inherent in his organism, and it came from some ancestor. Is any blame attached because somebody took Nietzsche's philosophy seriously and fashioned his life upon it? It is hardly fair to hang a 19-year-old boy for the philosophy that was taught him at the university.
We read of killing one hundred thousand men in a day [during World War I]. We read about it and we rejoiced in it – if it was the other fellows who were killed. We were fed on flesh and drank blood.
Even down to the prattling babe. I need not tell you how many upright, honorable young boys have come into this court charged with murder, some saved and some sent to their death, boys who fought in this war and learned to place a cheap value on human life. You know it and I know it. These boys were brought up in it.
It will take fifty years to wipe it out of the human heart, if ever. I know this, that after the Civil War in 1865, crimes of this sort increased, marvelously. No one needs to tell me that crime has no cause. It has as definite a cause as any other disease, and I know that out of the hatred and bitterness of the Civil War crime increased as America had never seen before.
I know that Europe is going through the same experience today; I know it has followed every war; and I know it has influenced these boys so that life was not the same to them as it would have been if the world had not made red with blood.
Your Honor knows that in this very court crimes of violence have increased growing out of the war. Not necessarily by those who fought but by those that learned that blood was cheap, and human life was cheap, and if the State could take it lightly why not the boy?
Has the court any right to consider anything but these two boys? The State says that your Honor has a right to consider the welfare of the community, as you have. If the welfare of the community would be benefited by taking these lives, well and good. I think it would work evil that no one could measure.
Has your Honor a right to consider the families of these defendants? I have been sorry, and I am sorry for the bereavement of Mr. and Mrs. Franks, for those broken ties that cannot be healed. All I can hope and wish is that some good may come from it all. But as compared with the families of Leopold and Loeb, the Franks are to be envied – and everyone knows it.
Here is Leopold's father – and this boy was the pride of his life. He watched him and he cared for him, he worked for him; the boy was brilliant and accomplished. He educated him, and he thought that fame and position awaited him, as it should have awaited. It is a hard thing for a father to see his life's hopes crumble into dust.
And Loeb's the same. Here are the faithful uncle and brother, who have watched here day by day, while Dickie's father and his mother are too ill to stand this terrific strain, and shall be waiting for a message which means more to them than it can mean to you or me. Shall these be taken into account in this general bereavement?
The easy thing and the popular thing to do is to hang my clients. I know it. Men and women who do not think will applaud. The cruel and thoughtless will approve. It will be easy today; but in Chicago, and reaching out over the length and breadth of the land, more and more fathers and mothers, the humane, the kind and the hopeful, who are gaining an understanding and asking questions not only about these poor boys, but about their own – these will join in no acclaim at the death of my clients.
These would ask that the shedding of blood be stopped, and that the normal feelings of man resume their sway. Your Honor stands between the past and the future. You may hang these boys; you may hang them by the neck until they are dead. But in doing it you will turn your face toward the past. In doing it you are making it harder for every other boy who in ignorance and darkness must grope his way through the mazes which only childhood knows.
In doing it you will make it harder for unborn children. You may save them and make it easier for every child that sometime may stand where these boys stand. You will make it easier for every human being with an aspiration and a vision and a hope and a fate.
I am pleading for the future; I am pleading for a time when hatred and cruelty will not control the hearts of men. When we can learn by reason and judgment and understanding and faith that all life is worth saving, and that mercy is the highest attribute of man."
The judge was persuaded, but he explained in his ruling that his decision was based primarily on precedent and the youth of the accused. On the 10th. September 1924, he sentenced both Leopold and Loeb to life imprisonment for the murder, and an additional 99 years for the kidnapping. A little over a month later, Loeb's father died of heart failure.
Darrow's handling of the law as defense counsel has been criticized for hiding psychiatric expert testimony that conflicted with his polemical goals and for relying on an absolute denial of free will, one of the principles legitimizing all criminal punishment.
Prison and Loeb's Murder
Leopold and Loeb initially were held at Joliet Prison. Although they were kept apart as much as possible, the two managed to maintain their friendship.
Leopold was transferred to Stateville Penitentiary in 1925, and Loeb was later transferred there as well. Once reunited, the two expanded the prison school system, adding a high school and junior college curriculum.
On the 28th. January 1936, Loeb was attacked by fellow inmate James Day with a straight razor in a shower room; he died soon after in the prison hospital.
Day claimed that Loeb had attempted to sexually assault him, but he was unharmed, while Loeb sustained more than fifty wounds, including defensive wounds on his arms and hands. His throat had been slashed from behind.
News accounts suggested Loeb had propositioned Day, and though several prison officials including the Warden believed Loeb had been murdered, Day was found not guilty by a jury after a short trial in June, 1936.
Zany classical music in a cave dressed up with fake stalactites, papier-mache figures, and colored lights...some sort of demented cross between the Loisium and Ruby Falls.
In fact, this ended up inspiring a half-baked idea for my exit review: draw line dividing all architects between the polar ideals of Rock City and Ruby Falls. Make up nonsensical qualifications for each category, and further obfuscate the situation by inventing a few synonyms for each of the categories so it sounds like you're talking about six different concepts instead of two. Inspired by the guy who graduated with high accolades using his "Some architects are like Superman, and others are like Spiderman" report. Note: this guy seemed like a nice, cool dude, and I like comic books, so I can't hate it too much, but really. "Black people have names like Karl, whereas white people have names like Lenny..."
"In an age of dynamic #malware #obfuscation through operations such as mutating hash, a hyper-evolving #threat landscape, & #technologically #nextgeneration adversaries, offensive campaigns have an overwhelming advantage over defensive strategies."-James Scott, Senior Fellow, ICIT, CCIOS and CSWS
#malware #obfuscation #threat #nextgeneration #NextGen #CyberDefense
My super-rant ahead: The common belief of how trees became petrified is a myth of science. Petrified wood, and all the formations of the US Southwest, are brimming with strong evidence of a world-wide flood that covered the earth several thousand years ago, and quickly burried these trees under mud and sediment. The cystalization process was quite quick, compared to accepted scientific timeframes. (Info for that here: earthage.org/EarthOldorYoung/scientific_evidence_for_a_worldwide_flood.htm)
There is ample evidence for this account, but that evidence is ignored, so you won't hear any of it in the media. Or if you do hear it, it's derided with all manner of logical falacies and strawman arguments to discredit, and make the other positions look weak and ill-conceived. It's no wonder that the common man doesn't give such arguments a second thought, trusting "the experts" instead.
However, giving attention to the other side of such arguments would expose the flimsy foundations of mainstream science (i.e. beliefs like: everything came from nothing, big bang, evolution, universe/earth are billions of years old, no god, we are insignificant specs of dust in an endless universe, this reality and all you see is just convenient coincidence, etc).
Mainstream science is very much a faith-based religion, albeit a well disguised one. They have woven a false belief system with just enough truth sprinkled in to keep people invested in it, as the one-and-only possible view of how the world works and our place in it. This system continues to push the mainstream narrative without question, ignoring evidence, obfuscating, leading public opinion away from questioning the version of reality they're given, and away from the overwhelming proof of there being One true Creator of all things, our significance and our purpose in His design.
Science has been built on a foundation of deceit through its heavily controlled and funded, but extremely dumbed-down egocentric legions of scientists (scientific priests) for centuries to give the public a form of stiffled scientific advancement, while keeping them ignorant, and dismissive of anything that stands to question the foundational beliefs of science. Scientists who DO question and consider exposing the problems with their "on the shoulders of giants" textbook assumptions, face ridicule in their industries and career suicide.
This is why I always say, if you care to get closer to the truth of earth's past, humanity's past, the purpose of life, and where we're going, you have to accept that truth is never given so easily. But since most of us want it to be that easy, the con artists running this world are only too happy to oblige, at your expense.
Truth has to be diligently sought out, outside of mainstream circles. media, academia and the well funded religion of science will never admit that they've been wrong. Too much is at stake, too many jobs and industries, cultures, false religions and manmade institutions would be disrupted or dissolve entirely. That won't be allowed to happen, so the chrarade will continue.
Yeshua (Jesus) said, "I am the way, and the truth, and the life. No one comes to the Father but through Me."
The road to the truth is in Him, and He reveals these things to us if we strip away the layers of nonsense we've been taught all our lives.
Crystal Forest,
Petrified Forest National Park
Taken for this weel's #TwPhCh: Sacral/Sacred
Nothing feels more sacred to me than attending funerals. Always lots of emotions, and lots of rituals. Picture taken at night-time outside the two Haslum Chapels, mostly (only?) used for funerals.
Tech:
-Canon 7D w/ canon EFS 17-55mm f/2.8 @ 17mm, f/7.1, 2-15s, iso 400
-took three pictures and masked them individually as layers in photoshop:
1. mainly the thomb.stone and most of the the sky
2. the church
3. the clouds in the upper right corner.
Also pixelated the person's name and obfuscated the dates somewhat.
In the 1950s and 1960s, the United States Air Force installed different versions of the 1951 USAF resolution test chart in the Mojave desert to calibrate aerial photography and video. Documentary film maker and writer Hito Steyerl’s video essay How Not to be Seen. A Fucking Didactic Educational .MOV File (2013) was filmed at one of these resolution targets just west of Cuddeback Lake. Steyerl presents viewers with an educational manual which via critical consideration of the resolutions and surveillance embedded in digital and analogue technologies argues that »whatever is not captured by resolution is invisible.«
Even though I am aware that her work by no means claims to be a comprehensive description of the term «resolution», or the ways in which these resolutions perform in the age of mass-surveillance, I believe the essay non the less misses a crucial perspective. Resolutions do not simply present things as visible, while rendering Others obscured or invisible. Rather, a resolution should also be understood as the choice between certain technological processes and materials that involve their own specific standard protocols and affordances, which in their turn inform the settings that govern a final capture. However, these settings and their inherent affordances – or the possibilities to choose other settings – have become more and more complex and obscure themselves as they exist inside black-boxed interfaces. Moreover, while resolutions compromise, obfuscate, or obscure certain visual outcomes, the processes of standardization and upgrade culture as a whole also compromise certain technological affordances – creating new ways of seeing or perceiving – altogether. And it is these alternative technologies of seeing, or obscured and deleted settings that also need to be considered as part of resolution studies.
The reason for our ignorance of our looming and impending problem of waste and the destruction of the world is that the industrial forces of production that worked so hard in producing our consumption patterns, have worked equally hard in distracting and deceiving us from the real source of such problems, their actions. One way through which they have successfully distracted us is through something known as greenwashing. Greenwashing is the process through which disinformation is disseminated by an organisation so as to present an environmentally responsible public image but is perceived as being unfounded or intentionally misleading. One example of how greenwashing can have a powerful effect on contemporary thought can be seen if we look at the earliest attempt to restrict disposable drink containers in the USA in 1953. Previously, beverages used to be sold in reusable drink containers whereby customers would return the container where it would be taken back to a plant, washed and re-used. It was not until manufacturers realised that selling their beverages in disposable plastic containers would massively increase their profits that the transition was made. Legislature in Vermont however banned the sale of all throwaway bottles due to complaints made by farmers that their cattle were accidently swallowing some plastic and dying. Within a few short months, the packaging industry created an organisation called Keep America Beautiful (KAB) that proceeded to go on a lavishly funded PR campaign. This campaign set out to change the course of history and set a precedent that is still maintained today. They conveyed the idea that it was the individual who was in the wrong when it came to waste, as waste was only a problem when the individual did not put it in its proper place. KAB positioned litter as the enemy with the dreaded litterbug as the monster. The campaign succeeded, the industrial forces behind the destructive processes of production successfully detracted attention away from themselves and offloaded responsibility onto the pubic and in turn prevented any future law or limitations on the way they carried out their business. The Vermont law was defeated in 1957 and the packaging industry was able to thrive with no embargoes. (Rogers, 2005) This case illustrates the powers and lengths that the industries of production will go to in order to distract and divert attention away from their practices and instead makes us look at the problem of waste from a distorted and manipulated stance. Through such influential acts of greenwashing, large industries and corporations have effectively instilled the notion that waste is the problem of the individual whilst deflecting attention away from themselves, obfuscating the real causes of mounting waste.
Apply a gaussian blur (here, an 8). It needs to be enough to obfuscate the majority of the posterization banding, but no more.
Alterante technique: If you are smarter than me, you skipped the posterizing and at this point you can add saturation (here, a +20 would do it) and get the same effect with more control over the results. :)
Do a hard light blend and flatten. next
"Lord Jim," for example, starts out in the third person, presently
swings into an exhaustive psychological
discussion by the mythical Marlow, then goes
into a brisk narrative at second (and sometimes at third) hand, and
finally comes to a halt upon an unresolved dissonance, a half-heard
chord of the ninth: "And that's the end. He passes away under a cloud,
inscrutable at heart, forgotten, unforgiven, and excessively romantic."
"Falk" is also a story within a story; this time the narrator is
"one who had not spoken before, a man over fifty." In "Amy Foster"
romance is filtered through the prosaic soul
of a country doctor; it is almost as if a statistician told the tale of
Horatius at the
bridge. In "Under Western Eyes" the obfuscation is achieved by "a
teacher of languages," endlessly lamenting his lack of the "high gifts
of imagination and expression." In "Youth" and "Heart of Darkness" the
chronicler and speculator is the sha
001,002, two shots of a window sill from the interior of a possible residential building. Interior is covered in plants possibly fichus type plants. Outside the building are a variety of plants, possibly palm trees and cypress or oak trees. On one side of the window sill is wood paneling. 003, shot of the interior of a possible residential type building, such as a private home. Architecture style is a mix of modernist and ecological or sustainable. Floor is covered in carpet including stairwell. Wooden beams and high placed windows allow in a lot of light. A variety of plants and flora cover the floor, walls, and even wooden beams on top of the interior, ranging from palms to fichus plants, to ferns. 004-009,013,016-018, multiple shots of two females, one standing and one sitting in a possible storage room area. Woman sitting down is older and has short light hair and wears a floral patterned outfit. Standing woman has short dark hair and wears a semi formal outfit. Both of them hold and admire a porcelain type diorama of female children in Victorian or Edwardian outfits with the faces obfuscated. Desk lamps, ceiling lamps, boxes and other objects such as a mobile made of small pots occupy the background. 010,014,015, three shots of a window sill that holds a glass stained diorama of an arch with a top with the Christian symbol of a cross on it. In the middle of the arch is a representation of a dove and a small fountain, most likely representing the Christian concepts of the Holy Spirit and Baptism. Setting is most likely a church or other religious institution. 011,012, two shots of a entrance way of a possible residential environment, such as a private home. Door is made out of wood and glass. Large window sills hang overhead. A hat stand sits by the door with hats on it. A large potted plant sits by hat stand. Floor is made of stone but as it descends is covered in carpet. Outside is a large oak tree.
My super-rant ahead: The common belief of how trees became petrified is a myth of science. Petrified wood, and all the formations of the US Southwest, are brimming with strong evidence of a world-wide flood that covered the earth several thousand years ago, and quickly burried these trees under mud and sediment. The cystalization process was quite quick, compared to accepted scientific timeframes. (Info for that here: (earthage.org/EarthOldorYoung/scientific_evidence_for_a_worldwide_flood.htm)
There is ample evidence for this account, but that evidence is ignored, so you won't hear any of it in the media. Or if you do hear it, it's derided with all manner of logical falacies and strawman arguments to discredit, and make the other positions look weak and ill-conceived. It's no wonder that the common man doesn't give such arguments a second thought, trusting "the experts" instead.
However, giving attention to the other side of such arguments would expose the flimsy foundations of mainstream science (i.e. beliefs like: everything came from nothing, big bang, evolution, universe/earth are billions of years old, no god, we are insignificant specs of dust in an endless universe, this reality and all you see is just convenient coincidence, etc).
Mainstream science is very much a faith-based religion, albeit a well disguised one. They have woven a false belief system with just enough truth sprinkled in to keep people invested in it, as the one-and-only possible view of how the world works and our place in it. This system continues to push the mainstream narrative without question, ignoring evidence, obfuscating, leading public opinion away from questioning the version of reality they're given, and away from the overwhelming proof of there being One true Creator of all things, our significance and our purpose in His design.
Science has been built on a foundation of deceit through its heavily controlled and funded, but extremely dumbed-down egocentric legions of scientists (scientific priests) for centuries to give the public a form of stiffled scientific advancement, while keeping them ignorant, and dismissive of anything that stands to question the foundational beliefs of science. Scientists who DO question and consider exposing the problems with their "on the shoulders of giants" textbook assumptions, face ridicule in their industries and career suicide.
This is why I always say, if you care to get closer to the truth of earth's past, humanity's past, the purpose of life, and where we're going, you have to accept that truth is never given so easily. But since most of us want it to be that easy, the con artists running this world are only too happy to oblige, at your expense.
Truth has to be diligently sought out, outside of mainstream circles. media, academia and the well funded religion of science will never admit that they've been wrong. Too much is at stake, too many jobs and industries, cultures, false religions and manmade institutions would be disrupted or dissolve entirely. That won't be allowed to happen, so the chrarade will continue.
Yeshua (Jesus) said, "I am the way, and the truth, and the life. No one comes to the Father but through Me."
The road to the truth is in Him, and He reveals these things to us if we strip away the layers of nonsense we've been taught all our lives.
Rainbow Forest Museum,
Petrified Forest National Park