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Originally posted by NewAgeMan
Originally posted by GoodOlDave
Between watching everyone arguing whether the towers fell because of secret hush-a-boom controlled demolitions..
edit on 10-8-2011 by NewAgeMan because: quote fixed
No way, those buildings fell from jet fuel and gravity alone...
But when you add structural damage......
From an engineering perspective, impact damage to the core structure had a negligible effect on the critical thermal load required to initiate collapse in the core structure.
Originally posted by Yankee451
reply to post by hooper
The traveling circus of "cry on demand" actors? Is that what you're referring to?edit on 11-8-2011 by Yankee451 because: (no reason given)
Originally posted by hooper
Originally posted by Yankee451
reply to post by hooper
The traveling circus of "cry on demand" actors? Is that what you're referring to?edit on 11-8-2011 by Yankee451 because: (no reason given)
Not following you (in more ways than one), to whom are you referring? The host, moderators of the hearing? The attendees?
Themes on days 1, 2, and 4 will include: al-Qaeda, air defense failures, anomalies of Flights 77 and 93, the nature of false flag terrorism, and psychological resistance to accounts that challenge the official one.
Nothing about the fact that real life planes can't do what they claim.
Originally posted by hooper
reply to post by Yankee451
Nothing about the fact that real life planes can't do what they claim.
And here, in a nutshell (pun intended) is the reason that a "new investigation" would be meaningless. No matter how bias the investigation may be there will always be one or two delusions that will remain unaddressed and unsatisfied.
As long as the investigations are limited to "al Qaeda", "planes" and "security failures", you bet it will be meaningless.
But then you don't believe there were any planes or any victims so that's all moot to you, huh?
On September 8, 2001, Wolfgang Staehle, a German-born Internet artist, set up two cameras in an apartment window in Williamsburg, Brooklyn, both pointed at the skyline of Lower Manhattan. As part of an art project he called “2001,” Staehle had carefully calibrated the cameras’ shutters to trip at four-second intervals, hour after hour, day after day, automatically snapping postcard-style stills of the city. Staehle’s panoramas would then be transmitted over the Internet to twin film projectors, their beams directed at the wall of a West Side gallery. Gallery patrons would then view the changing electronic mural in virtual “real time,” as theatre-goers might view a wide-screen movie, twenty-four-by-nine-feet. Every four seconds, the scene would shift. A boat or a cloud would seem to twitch. The sun would meander across the cityscape and its apron of bridges. The webcams would capture the metropolis in a Zen-like state, subtly coming to life over the course of a morning.
That is, until 08:46:50, on September 11. At that instant, as evidenced by the time code in the lower right-hand corner of the frame, Staehle’s cameras happened to catch an aircraft approaching the north tower of the World Trade Center, then its impact, then the explosion. Unwittingly, he had documented the first salvo of the deadliest terrorist strike in American history, a series of attacks which would claim the lives of nearly 3,000 people in a coordinated assault by four teams of suicide hijackers from the extremist Islamist faction, al-Qaeda
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click.si.edu...
click.si.edu...