Camera Operator Quotes

This is the Manifesto of Little Monster There is something heroic about the way my fans operate their cameras. So precisely, so intricately and so proudly. Like Kings writing the history of their people, is their prolific nature that both creates and procures what will later be percieved as the kingdom. So the real truth about Lady Gaga fans, my little monsters, lies in this sentiment: They are the Kings. They are the Queens. They write the hisory of the kingdom and I am something of a devoted Jester. It is in the theory of perception that we have established our bond, or the lie I should say, for which we kill. We are nothing without our image. Without our projection. Without the spiritual hologram of who we percieve ourselves to be or rather to become, in the future. When you are lonely, I will be lonely too. And this is the fame.

Racism is both overt and covert. It takes two, closely related forms: individual whites acting against individual blacks, and acts by the total white community against the black community. We call these individual racism and institutional racism. The first consists of overt acts by individuals, which cause death, injury or the violent destruction of property. This type can be recorded by television cameras; it can frequently be observed in the process of commission. The second type is less overt, far more subtle, less identifiable in terms of specific individuals committing the acts. But it is no less destructive of human life. The second type originates in the operation of established and respected forces in the society, and thus receives far less public condemnation than the first type. When white terrorists bomb a black church and kill five black children, that is an act of individual racism, widely deplored by most segments of the society. But when in that same city - Birmingham, Alabama - five hundred black babies die each year because of the lack of proper food, shelter and medical facilities, and thousands more are destroyed and maimed physically, emotionally and intellectually because of conditions of poverty and discrimination in the black community, that is a function of institutional racism. When a black family moves into a home in a white neighborhood and is stoned, burned or routed out, they are victims of an overt act of individual racism which many people will condemn - at least in words. But it is institutional racism that keeps black people locked in dilapidated slum tenements, subject to the daily prey of exploitative slumlords, merchants, loan sharks and discriminatory real estate agents. The society either pretends it does not know of this latter situation, or is in fact incapable of doing anything meaningful about it.

I imagine that the essential gesture of the Operator is to surprise something or someone (through the little hole in the camera), and that this gesture is therefore perfect when it is performed unbeknownst to the subject being photographed. From this gesture derive all photographs whose principle (or better whose alibi) is “shock”; for the photographic “shock” consists less in traumatizing than in revealing what was so well hidden that the actor himself was unaware or unconscious of it.

The official record for the fastest manmade object is the Helios 2 probe, which reached about 70 km/s in a close swing around the Sun. But it’s possible the actual holder of that title is a two-ton metal manhole cover. The cover sat atop a shaft at an underground nuclear test site operated by Los Alamos as part of Operation Plumbbob. When the 1-kiloton nuke went off below, the facility effectively became a nuclear potato cannon, giving the cap a gigantic kick. A high-speed camera trained on the lid caught only one frame of it moving upward before it vanished—which means it was moving at a minimum of 66 km/s. The cap was never found.

This is the breaking point in a human life, right here. This is waking up on an operating table to find aliens peering down at you, this is hearing the audible voice of God telling you the date the world will end. This is seeing a family of bigfoots in the forest and being without a camera. Welcome to freakdom, Dave. It’ll be time to start a website soon.

It ain't the picture and it ain't the camera - it's the operator.

Beautifying is one classic operation of the camera, and it tends to bleach out a moral response to what is shown. Uglifying, showing something at its worst, is a more modern function: didactic, it invites an active response. For photographs to accuse, and possibly to alter conduct, they must shock.

So why does the world appear stable to you when you’re looking at it? Why doesn’t it appear as jerky and nauseating as the poorly filmed video? Here’s why: your internal model operates under the assumption that the world outside is stable. Your eyes are not like video cameras – they simply venture out to find more details to feed into the internal model. They’re not like camera lenses that you’re seeing through; they’re gathering bits of data to feed the world inside your skull." The Brain: The Story of You - David Eagleman

Almost any abdominal operation can now be performed laparoscopically, which is Greek for “much slower”, and involves inserting tiny cameras and instruments on long sticks through little holes. It’s fiddly and takes a long time to learn. Recreate the experience for yourself by tying your shoelaces with chopsticks. With your eyes closed. In space.

The cinema is, after all, the most timid of the arts. It never sets trends, it merely reflects them. The harm has been done long before the movies set cameras on the scene. Warring teen-age gangs antedated Rebel Without A Cause , at least in the United States; and the most infamous teen-age killer in Philippine history operated during the liberation times, long before James Dean was heard of.

Probably the most wasteful and pointless aspect of The Room’s production was Tommy’s decision to simultaneously shoot his movie with both a 35mm film camera and a high-definition (HD) camera. In 2002, an HD and 35mm film camera cost around $250,000 combined; the lenses ran from $20,000 to $40,000 apiece. And, of course, you had to hire an entirely different crew to operate this stuff. Tommy had a mount constructed that was able to accommodate both the 35mm camera and HD camera at the same time, meaning Tommy needed two different crews and two different lighting systems on set at all times. The film veterans on set had no idea why Tommy was doing this. Tommy was doing this because he wanted to be the first filmmaker to ever do so. He never stopped to ask himself why no one else had tried.

Today's media zoom their cameras in on and dedicate endless column inches to wars, disasters, famines, scandals, tragedies, and every form of evil. Things beautiful, wholesome and good, however, are less photogenic, so the works of God and His servants are rarely noticed.

This practice seems to be general in the Soviet Union. I suppose it is general any place where bureaus of the government operate. No one is willing to go out on any limb. No one is willing to say yes or no to a proposition. He must always go to someone higher. In this way he protects himself from criticism. Anyone who has had dealings with armies, or with governments, will recognize this story. The reaction to our cameras was invariably courteous, but very careful, and the camera did not click until the policeman was quite sure that everything was in order.

I held a brain for the cameras at St Paul’s teaching hospital in Addis. It is the most complex single object in the known universe, a most intricate example of emergent complexity assembled over 4 billion years by natural selection operating within the constraints placed upon it by the laws of physics and the particular biochemistry of life on Earth. It contains around 85 billion individual neurons, which is of the same order as the number of stars in an average galaxy. But that doesn’t begin to describe its complexity. Each neuron is thought to make between 10,000 and 100,000 connections to other neurons, making the brain a computer way beyond anything our current technology can simulate. When we do manage to simulate one, I have no doubt that sentience will emerge; consciousness is not magic, it is an emergent property consistent with the known laws of nature.

However popular Candid Camera may have been, though, it represented a genre—with the exception of a few popular shows like COPS, Real World, and America’s Funniest Home Videos—that lay dormant on American prime-time television until the late 1990s. Then, stung by a loss of viewers and watercooler buzz to more innovative, more targeted, and more creatively unshackled cable operators, network television programmers revisited reality. The show that ushered in the new era in network programming debuted in the summer of 2000 on CBS, and it became a ratings powerhouse known as Survivor.

Harman was right: those pictures were worse. But, leaving aside the fact that photographs of death and nudity, however newsworthy, don't get much play in the press, the power of an image does not necessarily reside in what it depicts. A photograph of a mangled cadaver, or of a naked man trussed in torment, can shock and outrage, provoke protest and investigation, but it leaves little to the imagination. It may be rich in practical information while being devoid of any broader meaning. To the extent that it represents any circumstances or conditions beyond itself, it does so generically. Such photographs are repellent in large part because they have a terrible reductive sameness. Except from a forensic point of view, they are unambiguous, and have the quality of pornography. They are what they show, nothing more. They communicate no vision and, shorn of context, they offer little, if anything, to think about, no occasion for wonder. They have no value as symbols. Of course, the dominant symbol of Western civilization is the figure of a nearly naked man being tortured to death⁠—or more simply, the torture implement itself, the cross. But our pictures of Christ's savage death are the product of religious imagination and idealization. In reality, with his battered flesh scabbed and bleeding and bloated and discolored beneath the pitiless Judean desert sun, he must have been ghastly to behold. Had there been cameras at Calvary, would twenty centuries of believers have been moved to hang photographs of the scene on their altarpieces and in their homes, or to wear an icon of a man being executed around their necks as as an emblem of peace and hope and human fellowship? Photography is too frank to allow for the notion of suffering as noble and ennobling...

Breakthroughs in information and communications technology are leading to forms of dematerialization unimaginable just a decade ago. Consider smartphones. They require more energy to manufacture and operate than older cell phones. But by obviating the need for separate, physical newspapers, books, magazines, cameras, watches, alarm clocks, GPS systems, maps, letters, calendars, address books, and stereos, they will likely significantly reduce humanity’s use of energy and materials over the next century. Such examples suggest that holding technological progress back could do far more environmental damage than accelerating it.

The last week of shooting, we did a scene in which I drag Amanda Wyss, the sexy, blond actress who played Tina, across the ceiling of her bedroom, a sequence that ultimately became one of the most visceral from the entire Nightmare franchise. Tina’s bedroom was constructed as a revolving set, and before Tina and Freddy did their dance of death, Wes did a few POV shots of Nick Corri (aka Rod) staring at the ceiling in disbelief, then we flipped the room, and the floor became the ceiling and the ceiling became the floor and Amanda and I went to work. As was almost always the case when Freddy was chasing after a nubile young girl possessed by her nightmare, Amanda was clad only in her baby-doll nightie. Wes had a creative camera angle planned that he wanted to try, a POV shot from between Amanda’s legs. Amanda, however, wasn’t in the cameramen’s union and wouldn’t legally be allowed to operate the cemera for the shot. Fortunately, Amy Haitkin, our director of photography’s wife, was our film’s focus puller and a gifted camera operator in her own right. Being a good sport, she peeled off her jeans and volunteered to stand in for Amanda. The makeup crew dapped some fake blood onto her thighs, she lay down on the ground, Jacques handed her the camera, I grabbed her ankles, and Wes called, “Action.” After I dragged Amy across the floor/ceiling, I spontaneously blew her a kiss with my blood-covered claw; the fake blood on my blades was viscous, so that when I blew her my kiss of death, the blood webbed between my blades formed a bubble, a happy cinematic accident. The image of her pale, slender, blood-covered legs, Freddy looming over her, straddling the supine adolescent girl, knife fingers dripping, was surreal, erotic, and made for one of the most sexually charged shots of the movie. Unfortunately it got left on the cutting-room floor. If Wes had left it in, the MPAA - who always seemed to have it out for Mr. Craven - would definitely have tagged us with an X rating. You win some, you lose some.

I probably should say that this is what makes you a good traveler in my opinion, but deep down I really think this is just universal, incontrovertible truth. There is the right way to travel, and the wrong way. And if there is one philanthropic deed that can come from this book, maybe it will be that I teach a few more people how to do it right. So, in short, my list of what makes a good traveler, which I recommend you use when interviewing your next potential trip partner: 1. You are open. You say yes to whatever comes your way, whether it’s shots of a putrid-smelling yak-butter tea or an offer for an Albanian toe-licking. (How else are you going to get the volcano dust off?) You say yes because it is the only way to really experience another place, and let it change you. Which, in my opinion, is the mark of a great trip. 2. You venture to the places where the tourists aren’t, in addition to hitting the “must-sees.” If you are exclusively visiting places where busloads of Chinese are following a woman with a flag and a bullhorn, you’re not doing it. 3. You are easygoing about sleeping/eating/comfort issues. You don’t change rooms three times, you’ll take an overnight bus if you must, you can go without meat in India and without vegan soy gluten-free tempeh butter in Bolivia, and you can shut the hell up about it. 4. You are aware of your travel companions, and of not being contrary to their desires/​needs/​schedules more often than necessary. If you find that you want to do things differently than your companions, you happily tell them to go on without you in a way that does not sound like you’re saying, “This is a test.” 5. You can figure it out. How to read a map, how to order when you can’t read the menu, how to find a bathroom, or a train, or a castle. 6. You know what the trip is going to cost, and can afford it. If you can’t afford the trip, you don’t go. Conversely, if your travel companions can’t afford what you can afford, you are willing to slum it in the name of camaraderie. P.S.: Attractive single people almost exclusively stay at dumps. If you’re looking for them, don’t go posh. 7. You are aware of cultural differences, and go out of your way to blend. You don’t wear booty shorts to the Western Wall on Shabbat. You do hike your bathing suit up your booty on the beach in Brazil. Basically, just be aware to show the culturally correct amount of booty. 8. You behave yourself when dealing with local hotel clerks/​train operators/​tour guides etc. Whether it’s for selfish gain, helping the reputation of Americans traveling abroad, or simply the spreading of good vibes, you will make nice even when faced with cultural frustrations and repeated smug “not possible”s. This was an especially important trait for an American traveling during the George W. years, when the world collectively thought we were all either mentally disabled or bent on world destruction. (One anecdote from that dark time: in Greece, I came back to my table at a café to find that Emma had let a nearby [handsome] Greek stranger pick my camera up off our table. He had then stuck it down the front of his pants for a photo. After he snapped it, he handed the camera back to me and said, “Show that to George Bush.” Which was obviously extra funny because of the word bush.) 9. This last rule is the most important to me: you are able to go with the flow in a spontaneous, non-uptight way if you stumble into something amazing that will bump some plan off the day’s schedule. So you missed the freakin’ waterfall—you got invited to a Bahamian family’s post-Christening barbecue where you danced with three generations of locals in a backyard under flower-strewn balconies. You won. Shut the hell up about the waterfall. Sally

The people in makeup would buff away the shine on the face of anyone in front of the camera, and the sound blokes would clip a microphone onto the lapel of a jacket so it looked like something other than an insect about to crawl onto the presenter’s chin, but Steven Spielberg this group was not. This was a low-budget operation, thank you very much.

In the last week of April 2004, a handful of the Abu Ghraib photographs were broadcast on 60 minutes and published in The New Yorker, and within a couple of days they had been rebroadcast and republished pretty much everywhere on earth. Overnight, the human pyramid, the hooded man on the box, the young woman soldier with a prisoner on a leash, and the corpse packed in ice had become the defining images of the Iraq war...Never before had such primal dungeon scenes been so baldly captured on camera...But above all, it was the posing soldiers, mugging for their buddies' cameras while dominating the prisoners in trophy stances, that gave the photographs the sense of unruly and unmediated reality. The staging was part of the reality they documented. And the grins, the thumbs-up, the arms crossed over puffed-out chests—all this unseemly swagger and self-regard was the height of amateurism. These soldier-photographers stood, at once, inside and outside the events they recorded, watching themselves take part in the spectacle, and their decision not to conceal but to reveal what they were doing indicated that they were not just amateur photographers, but amateur torturers. So the amateurism was not merely a formal dimension of the Abu Ghraib pictures. It was part of their content, part of what we saw in them, and it corresponded to an aspect of the Iraq War that troubled and baffled nearly everyone: the reckless and slapdash ineptitude with which it had been prosecuted. It was an amateur-run war, a murky and incoherent war. It was not clear why it was waged; too many reasons were given, none had held up, and the stories we invented to explain it to ourselves hardly seemed to matter, since once it was started the war had become its own engine—not a means to an end but an end in itself. What had been billed as a war of ideas and ideals had been exposed as a war of poses and posturing.

Drake complied. ‘Learned that one in tech class,’ he informed the occupants of the operations bay. ‘Got to make sure you hit the left side only or it doesn’t work.’ ‘What happens if you hit the right side?’ Ripley asked curiously. ‘You overload the internal pressure control, the one that keeps your helmet on your head.’ She could see Drake smiling wolfishly into Frost’s camera. ‘Your eyeballs implode and your brains explode.’ ‘What brains?’ Vasquez let out a snort.

The myth is tenderly parodied in a 1928 silent film, The Cameraman, which has an inept dreamy Buster Keaton vainly struggling with his dilapidated apparatus, knocking out windows and doors whenever he picks up his tripod, never managing to take one decent picture, yet finally getting some great footage (a photojournalist scoop of a tong war in New York’s Chinatown)—by inadvertence. It is the hero’s pet monkey who loads the camera with film and operates it part of the time.

Photography transformed subject into object, and even, one might say, into a museum object: in order to take the first portraits the subject had to assume long poses under a glass roof in bright sunlight; to become an object made one suffer as much as surgical operation; then a device was invented, a kind of prosthesis invisible to the lens, which supported and maintained the body in its passage to immobility: this headrest was the pedestal of the statue I would become, the corset of my imaginary essence.

The official record for the fastest manmade object is the Helios 2 probe, which reached about 70 km/s in a close swing around the Sun. But it’s possible the actual holder of that title is a two-ton metal manhole cover. The cover sat atop a shaft at an underground nuclear test site operated by Los Alamos as part of Operation Plumbbob. When the 1-kiloton nuke went off below, the facility effectively became a nuclear potato cannon, giving the cap a gigantic kick. A high-speed camera trained on the lid caught only one frame of it moving upward before it vanished—which means it was moving at a minimum of 66 km/s. The cap was never found. Now, 66 km/s is about six times escape velocity, but contrary to common speculation, it’s unlikely the cap ever reached space. Newton’s impact depth approximation suggests that it was either destroyed completely by impact with the air or slowed and fell back to Earth. When we turn it back on, our reactivated hair dryer box, bobbing in lake water, undergoes a similar process. The heated steam below it expands outward, and as the box rises into the air, the entire surface of the lake turns to steam. The steam, heated to a plasma by the flood of radiation, accelerates the box faster and faster. Photo courtesy of Commander Hadfield Rather than slam into the atmosphere like the manhole cover, the box flies through a bubble of expanding plasma that offers little resistance. It exits the atmosphere and continues away, slowly fading from second sun to dim star. Much of the Northwest Territories is burning, but the Earth has survived.

Fiction and life are different; with fiction, the writer does the hard work for us. Fictional characters are easier to 'see,' given a competent novelist--and a competent reader. They are placed at a certain distance, moved this way and that, posed to catch the light, turned to reveal their depth; irony, that infrared camera for filming in the dark, shows them when they are not aware that anyone is looking. But life is different. The better you know someone, the less well you often see them (and the less well they can therefore be transferred into fiction). They may be so close as to be out of focus, and there is no operating novelist to dispel the blur.

Christ, I’m tired. I need sleep. I need peace. I need for my balls to not be so blue they’re practically purple. As purple as Sarah Von Titebottum’s— My mind comes to a screeching halt with the unexpected thought. And the image that accompanies it—the odd, blushing lass with her glasses and her books and very tight bottom. Sarah’s not a contestant on the show, so I’m willing to bet both my indigo balls that there’s not a camera in her room. And, I can’t believe I’m fucking thinking this, but, even better—none of the other girls will know where to find me—including Elizabeth. I let the cameras noisily track me to the lavatory, but then, like an elite operative of the Secret Intelligence Service, I plaster myself to the wall beneath their range and slide my way out the door. Less than five minutes later, I’m in my sleeping pants and a white T-shirt, barefoot with my guitar in hand, knocking on Sarah’s bedroom door. I checked the map Vanessa gave me earlier. Her room is on the third floor, in the corner of the east wing, removed from the main part of the castle. The door opens just a crack and dark brown eyes peer out. “Sanctuary,” I plead. Her brow crinkles and the door opens just a bit wider. “I beg your pardon?” “I haven’t slept in almost forty-eight hours. My best friend’s girlfriend is trying to praying-mantis me and the sound of the cameras following me around my room is literally driving me mad. I’m asking you to take me in.” And she blushes. Great. “You want to sleep in here? With me?” I scoff. “No, not with you—just in your room, love.” I don’t think about how callous the words sound—insulting—until they’re out of my mouth. Could I be any more of a dick? Thankfully, Sarah doesn’t look offended. “Why here?” she asks. “Back in the day, the religious orders used to give sanctuary to anyone who asked. And since you dress like a nun, it seemed like the logical choice.” I don’t know why I said that. I don’t know what’s wrong with me. Somebody just fucking shoot me and be done with it. Sarah’s lips tighten, her head tilts, and her eyes take on a dangerous glint. I think Scooby-Doo put it best when he said, Ruh-roh. “Let me make sure I’ve got this right—you need my help?” “Correct.” “You need shelter, protection, sanctuary that only I can give?” “Yes.” “And you think teasing me about my clothes is a wise strategy?” I hold up my palms. “I never said I was wise. Exhausted, defenseless, and desperate.” I pout . . . but in a manly kind of way. “Pity me.” A smile tugs at her lips. And that’s when I know she’s done for. With a sigh, she opens the door wide. “Well, it is your castle. Come in.” Huh. She’s right—it is my castle. I really need to start remembering that

- Molly Noptkins tells the U.S.O.U.S. operatives that her understanding of the apres-garde Auteur J. O. Incandenza's lethally entertaining Infinite Jest (V or VI) is that it features Madame Psychosis as some kind of maternal instantiation of the archetypal figure Death, sitting naked, corporeally gorgeous, ravishing, hugely pregnant, her hideously deformed face either veiled or blanked out by undulating computer-generated squares of color or anamorphosized into unrecognizability as any kind of face by the camera's apparently very strange and novel lens, sitting there nude, explaining in very simple childlike language to whomever the film's camera represents that Death is always female, and that the female is always maternal. I.e. that the woman who kills you is always your next life's mother.

[...]Telecomputer Man is assigned to an apparatus, just as the apparatus is assigned to him, by virtue of an involution of each into the other, a refraction of each by the other. The machine does what the human wants it to do, but by the same token the human puts into execution only what the machine has been programmed to do. The operator is working with virtuality: only apparently is the aim to obtain information or to communicate; the real purpose is to explore all the possibilities of a program, rather as a gambler seeks to exhaust the permutations in a game of chance. Consider the way the camera is used now. Its possibilities are no longer those of a subject who ' 'reflects' the world according to his personal vision; rather, they are the possibilities of the lens, as exploited by the object. The camera is thus a machine that vitiates all will, erases all intentionality and leaves nothing but the pure reflex needed to take pictures. Looking itself disappears without trace, replaced by a lens now in collusion with the object - and hence with an inversion of vision. The magic lies precisely in the subject's retroversion to a camera obscura - the reduction of his vision to the impersonal vision of a mechanical device. In a mirror, it is the subject who gives free rein to the realm of the imaginary. In the camera lens, and on-screen in general, it is the object, potentially, that unburdens itself - to the benefit of all media and telecommunications techniques. This is why images of anything are now a possibility. This is why everything is translatable into computer terms, commutable into digital form, just as each individual is commutable into his own particular genetic code. (The whole object, in fact, is to exhaust all the virtualities of such analogues of the genetic code: this is one of artificial intelligence's most fundamental aspects.) What this means on a more concrete level is that there is no longer any such thing as an act or event which is not refracted into a technical image or onto a screen, any such thing as an action which does not in some sense want to be photographed, filmed or tape-recorded, does not desire to be stored in memory so as to become reproducible for all eternity. No such thing as an action which does not aspire to self-transcendence into a virtual eternity - not, now, the durable eternity that follows death, but rather the ephemeral eternity of ever-ramifying artificial memory. The compulsion of the virtual is the compulsion to exist in potentia on all screens, to be embedded in all programs, and it acquires a magical force: the Siren call of the black box.

The election of a black president was an achievement, but it belonged to the American populace, not to Obama himself. That we could progress from a nation that harbored a virtual apartheid regime within its borders to one with a black president within my lifetime was remarkable. But the figurehead chosen to carry the torch of racial progress to the pinnacle of the American political system was, in my mind, little more than a political operator, albeit a gifted one. I did not doubt that Barack Obama was intelligent, but his self-presentation as an icon of American blackness struck me as absurd. He had no real ties to the history of black people in this country. If you took his Kenyan father (who he never really knew) out of the equation, I could see nothing of the African American experience in his life. I couldn’t accept the idea that he represented, in his very being, the ascension of black Americans from slavery to full citizenship to prosperity. His endless touting of his ties to Chicago, with the implication that he was a product of the very same South Side that made me, only drove home that, while he understood how to convey “authenticity” to the American public at large, there was almost nothing real about the persona that he presented for the TV cameras. My uncle Moonie, I was quite sure, would have been singularly unmoved by Barack Hussein Obama’s act.

During this same period of his life Bohm also continued to refine his alternative approach to quantum physics. As he looked more carefully into the meaning of the quantum potential he discovered it had a number of features that implied an even more radical departure from orthodox thinking. One was the importance of wholeness. Classical science had always viewed the state of a system as a whole as merely the result of the interaction of its parts. However, the quantum potential stood this view on its ear and indicated that the behavior of the parts was actually organized by the whole. This not only took Bohr's assertion that subatomic particles are not independent "things, " but are part of an indivisible system one step further, but even suggested that wholeness was in some ways the more primary reality. It also explained how electrons in plasmas (and other specialized states such as superconductivity) could behave like interconnected wholes. As Bohm states, such "electrons are not scattered because, through the action of the quantum potential, the whole system is undergoing a co-ordinated movement more like a ballet dance than like a crowd of unorganized people. " Once again he notes that "such quantum wholeness of activity is closer to the organized unity of functioning of the parts of a living being than it is to the kind of unity that is obtained by putting together the parts of a machine. "6 An even more surprising feature of the quantum potential was its implications for the nature of location. At the level of our everyday lives things have very specific locations, but Bohm's interpretation of quantum physics indicated that at the subquantum level, the level in which the quantum potential operated, location ceased to exist All points in space became equal to all other points in space, and it was meaningless to speak of anything as being separate from anything else. Physicists call this property "nonlocality. " The nonlocal aspect of the quantum potential enabled Bohm to explain the connection between twin particles without violating special relativity's ban against anything traveling faster than the speed of light. To illustrate how, he offers the following analogy: Imagine a fish swimming in an aquarium. Imagine also that you have never seen a fish or an aquarium before and your only knowledge about them comes from two television cameras, one directed at the aquarium's front and the other at its side. When you look at the two television monitors you might mistakenly assume that the fish on the screens are separate entities. After all, because the cameras are set at different angles, each of the images will be slightly different. But as you continue to watch you will eventually realize there is a relationship between the two fish. When one turns, the other makes a slightly different but corresponding turn. When one faces the front, the other faces the side, and so on. If you are unaware of the full scope of the situation, you might wrongly conclude that the fish are instantaneously communicating with one another, but this is not the case. No communication is taking place because at a deeper level of reality, the reality of the aquarium, the two fish are actually one and the same. This, says Bohm, is precisely what is going on between particles such as the two photons emitted when a positronium atom decays (see fig. 8).

The three classic levels of war – strategic, operational, and tactical – still exist in Fourth Generation war. But all three are affected, and to some extent changed, by the Fourth Generation. One important change is that, while in the first three generations strategy was the province of generals, the Fourth Generation has given us the “strategic corporal.” These days, the actions of a single enlisted man can have strategic consequences, especially if they happen to take place when cameras are rolling. The Second Persian Gulf War provides numerous examples. In one case, U.S. Marines had occupied a Shi’ite town in southern Iraq. A Marine corporal was leading a patrol through the town when it encountered a funeral procession coming the other way. The corporal ordered his men to stand aside and take their helmets off as a sign of respect. Word of that action quickly spread around town, and it helped the Marines’ effort to be welcomed as liberators. That in turn had a strategic impact, because the American strategy depended upon keeping Shi’ite southern Iraq quiet in order for American supply lines to pass through the territory.

All that is needed to conceal valuable data, keys, or surveillance devices such as cameras and microphones are two ingredients commonly found in any household kitchen: milk and vinegar. Heated and strained so that the milk’s casein proteins coagulate into a rubbery, plasticlike substance, the mixture can be molded into any shape, drying to a claylike consistency.

The intellectual actor For many of those who aspire to be actors or to become better actors, the biggest challenge is to stop thinking and start feeling. Our education system trains young people in thinking and the prizes are given out for analytical skills. But fundamentally this is a cerebral engagement, impassive and rational. And this kind of education – especially at degree level – is often in direct opposition to what actors need to cultivate in themselves. For much of our lives, we are served well by the ability to think logically about what’s happening and make considered, rational decisions about what to do. Indeed, for most professions it’s essential. I’m guessing we would all rather be operated on, or have our taxes done, by someone with the rigour of thinking to be able to analyse a situation and come up with a reliably intelligent plan of attack. But the foremost job of an actor is to commit to the fictional world of a drama and this is not a cerebral activity. The qualities that will really make a performance – spontaneity, impulsiveness, emotional availability, unguarded vulnerability – are neither logical nor intellectual. And these are things we can deliberately cultivate in ourselves. Nicolas Cage: ‘I invite the entire spectrum, shall we call it, of feeling. Because that is my greatest resource as a film actor. I need to be able to feel everything, which is why I refuse to go on any kind of medication. Not that I need to! But my point is, I wouldn’t even explore that, because it would get in the way of my instrument. Which is my emotional facility to be able to perform.

The official record for the fastest manmade object is the Helios 2 probe, which reached about 70 km/s in a close swing around the Sun. But it’s possible the actual holder of that title is a two-ton metal manhole cover. The cover sat atop a shaft at an underground nuclear test site operated by Los Alamos as part of Operation Plumbbob. When the 1-kiloton nuke went off below, the facility effectively became a nuclear potato cannon, giving the cap a gigantic kick. A high-speed camera trained on the lid caught only one frame of it moving upward before it vanished—which means it was moving at a minimum of 66 km/s. The cap was never found. Now, 66 km/s is about six times escape velocity, but contrary to common speculation, it’s unlikely the cap ever reached space. Newton’s impact depth approximation suggests that it was either destroyed completely by impact with the air or slowed and fell back to Earth.

mounted a battery-operated video camera on the living room wall near the fireplace. From this angle, it got all of the living room and some of the kitchen in a wide shot. When Fran was ready to begin telling her story, he was also going to film with his handheld camcorder, moving around to get different angles. Maybe they would even tour the cabin as she told her story.

GROUP FIFTEEN had its own private medical facilities attached to a well-known London teaching hospital. State-of-the-art facilities, the best doctors in the country, absolute discretion. Control watched through the window as the surgeon bent low to examine the damage that had been done to Twelve’s knee. The man—and his three colleagues—were wearing green smocks, their faces covered by surgical masks and latex gloves over their hands. Twelve had been anaesthetised and was laid out on the operating table, covered by a sheet with a long vertical slit that allowed easy access to his right leg. The surgeon had already sliced open his knee, a neat incision that began just below the quadriceps and curved around the line of his leg. The opening was held open by medical clips, and a miniature camera on an articulated arm had been positioned overhead, its feed visible on the large screen that was fixed to the wall in the observation suite.

gotten a good look at her face. But they didn’t recognize her as Stark’s cohort. They must not have been big on reading blogs or watching the news. Deirdre took the camera. “Sure. Where’s the button?” He quickly showed her how to operate it, and Deirdre stepped back to get both of them in the frame. The camera had a telephoto lens. She aimed it at the top of the building, zooming in so that she could look at the skeletal upper levels, where they were preparing to moor a visiting dirigible. With such fantastic zoom, she could see that there were OPA guards in black suits waiting to receive the airship.

It seemed like a hybrid of Spinal Tap, the British The Office, and something entirely original. Scenes would be blocked and rehearsed almost like a play, with entire scenes performed top to bottom many times. Two or three cameras would find the action and just follow the actors as they moved around. Actors often didn’t know when they were on camera or where the cameras were. “Spy shots” lent a sense of intimacy to moments. Actors were allowed to look into the camera to show their reactions to things and spoke directly to the camera with “talking heads,” used to further the story or display another side of what a character was feeling.15, 16 Camera operators were very close or very far away but a dynamic part of the action. We would shoot eight or nine pages in a twelve-hour day, which is about double what one shoots on a feature film.

John grows up normally, but doesn't talk, and this drives his parents to distraction. When he is about 16, at last, one teatime, he says: 'I'd like a little sugar. ' His mother is staggered and asks, 'But John, why have you never said anything up to now?' 'Up to now, everything was perfect.' If everything is perfect, language is useless. This is true for animals. If animals don't speak, it's because everything's perfect for them. If one day they start to speak, it will be because the world has lost a certain sort of perfection. 'I desire you' is obscene. 'You make me feel very good' is more subtle - the other is here the subject of pleasure, not the object of desire. Desire wants only orgasm; pleasure seeks to please. There can't be any desire to please - 'pleasing' is implacable. In days gone by, pleasing occupied the place of desire - today, desire discharges us from the need to please. Even age may function as a 'natural' perversion. Women are not so much in search of their fathers as of the simple mystery of another generation, closer to death, but also to a previous life. B.B. - My understudy has had an operation for appendicitis. - You're not going to sleep with the whole world. That's impossible, it's rape. - I have a real understanding for wild animals who are hunted, by camera lenses, by machine-guns. - A white Rolls and a black chauffeur. Woman to the power of woman.

Off the main drag were streets that wound into the hills of Silverlake and the city officials who lived there and people who worked in the real Hollywood as prop builders, camera operators and the lowest of the low, the writers.

What the old man had seen next—what they had all seen next—was nothing more, and nothing less, than a fly emerge from Catrin Amour’s left nostril. An optical illusion, a speck of dust on the print, a flaw in the film, Heinrich thought. And then the camera, a camera he had been operating, moved in for a tight shot—a shot he had never taken. And in this new shot, a second fly emerged from Catrin’s nostril. It took flight and landed on the scar Udo Heldt had carved into her cheek. A third fly followed. Another. And then another. She might have been a mannequin, the woman on the screen was so still. Then her mouth bulged grotesquely, as though she were going to vomit, and flies boiled forth from within her. She spewed them out in handfuls, in clots, in seething mouthfuls; she spewed them out by the hundreds. They massed on her neck and chin, launching themselves intermittently into the cloud that swirled around her. And still they came, streaming out of her mouth and nostrils in swarms. And Catrin Amour—the Catrin Amour on the screen—remained utterly unmoved.

I brought up a street security camera in Winston-Salem, North Carolina, just under 200 miles from the shore and one of the easternmost operating cameras. The camera’s street-level view would give me a good visual on the wave, hopefully enough to estimate its height. A slight jiggle of the camera’s image indicated the wave’s proximity. It wouldn’t be long now. On

Recently, Filipino politics kinda looks a lot like the United States,” he continued, rolling his eyes and gesturing with his hands. “You’ve got a president who was Trump before Trump was Trump, and you have relationships with people close to him with SCL and Cambridge Analytica. And you had a lot of data being collected—the second largest amount of data after the United States being collected in the Philippines. Also if you look at how SCL and Cambridge Analytica operated in a lot of countries . . . one of the things they talk about is that they use . . . they don’t go into a country as Cambridge Analytica. They don’t go into a country as SCL Group because it’s too obvious. So you use local partners—” “Proxies,” I clarified. “You use proxies,” he continued. “. . . They’re on camera admitting this. They go into countries, set up bullshit companies that are just fronts and they send in staff. It makes it very difficult for regulators or opposition parties to actually identify what’s happening. And as they also have admitted, once an election is done, they just get out. So they’re in. They’re out. They’ve got their guy in, and then you know they can come back and ask for favors.” “Okay,” I interrupted, “Alexander Nix [the Cambridge Analytica president] came to the Philippines at the end of 2015 before the campaigns began, and there was a photo of him—”13 “Yeah, he met with people there,” said Chris. “—the staff of Duterte,” I finished. “Yeah! What do you think he was doing there?” Chris asked.14

Most recently, the neuroscientist Joshua Greene has used the intuitive analogy of a camera, which can operate quickly and effortlessly using its automatic settings, or more flexibly and deliberately in manual mode.31

Easter. On this one day in the year, everybody went fishing. We often teamed up with cousins and other friends in the neighborhood. This day, my cousin Eli and I said we were going to the lake fishing, but instead, we went to Kmart. Going to town hardly ever happened. I didn’t even know how to get to Kmart, but Eli was a little older and knew the way. Regrettably, I stole money from my dad’s cash register to spend. We bought battery-operated watches, a toy car with a racetrack, and a camera − all forbidden by the church rules. While we were there, Dad came to town. We were so engrossed in our illicit activities and enjoying our freedom that we didn’t see him walk into Kmart, but he saw us. However, he didn’t say a word to us, neither did he show himself. We never knew he was there until later that evening. As we headed back to the community, we had so much fun with that camera. We took countless pictures and played with our toys and

Leave the train!” More soldiers meet Fez and his loyal companion, “This way,” one shouts, “step into the circle!” Fez glances down, at a large circle scribed into the ground, and walks into the centre with Gnash skittering in behind him, at which point he addresses the soldiers. “Did you know the philosopher Gurdjieff wrote about his encounters with the Yezidis—how he once saw a Yezidi boy distraught, struggling to break out of a circle drawn in the ground by other boys. Try as he might the boy just couldn’t step outside of the circle. The other boys teased and taunted him until Gurdjieff erased part of the circle, whereby the boy was able to escape. Perhaps the philosopher wants us to think carefully about the Yezidis—perhaps you should think carefully about me.” Out of the floor a circular glass wall made of toughened glass shoots up, stopping at a circular lip in the ceiling, trapping them like a ship in a bottle. “A prison—how quaint, never been in a prison before. When do I get my medication?” No one answers, but Fez spies a security camera in the ceiling and stares into its lens. “You think that I think you can’t hear me, but I know that you don’t know I can.” “What’s he on about?” one of the operators asks in the control room. “Something about us hearing him.

What’s KittyTube?” I asked. “It’s our internet channel to show our cat videos. A dozen years ago, a kind inventor gave cats a cat-to-human speech translator. Since then, we’ve been in control of our videos. We hire human camera operators and film editors and everything else.

The relationship between the famous and the public who sustain them is governed by a striking paradox. Infinitely remote, the great stars of politics, film and entertainment move across an electric terrain of limousines, bodyguards and private helicopters. At the same time, the zoom lens and the interview camera bring them so near to us that we know their faces and their smallest gestures more intimately than those of our friends. Somewhere in this paradoxical space our imaginations are free to range, and we find ourselves experimenting like impresarios with all the possibilities that these magnified figures seem to offer us. How did Garbo brush her teeth, shave her armpits, probe a worry-line? The most intimate details of their lives seem to lie beyond an already open bathroom door that our imaginations can easily push aside. Caught in the glare of our relentless fascination, they can do nothing to stop us exploring every blocked pore and hesitant glance, imagining ourselves their lovers and confidantes. In our minds we can assign them any roles we choose, submit them to any passion or humiliation. And as they age, we can remodel their features to sustain our deathless dream of them. In a TV interview a few years ago, the wife of a famous Beverly Hills plastic surgeon revealed that throughout their marriage her husband had continually re-styled her face and body, pointing a breast here, tucking in a nostril there. She seemed supremely confident of her attractions. But as she said: ‘He will never leave me, because he can always change me.’ Something of the same anatomizing fascination can be seen in the present pieces, which also show, I hope, the reductive drive of the scientific text as it moves on its collision course with the most obsessive pornography. What seems so strange is that these neutral accounts of operating procedures taken from a textbook of plastic surgery can be radically transformed by the simple substitution of the anonymous ‘patient’ with the name of a public figure, as if the literature and conduct of science constitute a vast dormant pornography waiting to be woken by the magic of fame.

…Two shots rang out simultaneously during the fifth and the longest second. They were executed synchronously, creating a single, stinging, deadly sound. The bullet from the sixth floor of the book depository went straight up into the sky, as planned. The second bullet shot out of a sniper rifle, held confidently in the arms of a woman behind the hedge, on the grassy knoll. It was her bullet that struck the head of the 35th US president, John Fitzgerald Kennedy. The woman walked quickly down the grassy knoll. Stepping only about five meters away, she put her rifle into a baby pram waiting there, with a real six-month-old baby boy whimpering inside it. She put on thick glasses and started walking away, exhibiting no haste. Only thirty seconds after the second shot, the woman was gone, nowhere to be seen… After the second or, rather, the third shot, the one from the knoll, President Kennedy’s head was tossed back. Jackie somehow managed to crawl onto the back hood of the car. A security agent from the escort car had already reached them. The motorcade picked up speed and disappeared under the overpass. Zapruder’s camera kept whirring for some seconds. He must have filmed the whole operation – that is, the assassination of an acting US president. But now he simply stood there without saying a word, completely dumbfounded..

Andy didn’t get to build his camera OS. But given how critical the camera is on phones today, you could argue that he created the most widely-used camera OS ever; he just did it in a roundabout way.

The advent of the Apple Macintosh in 1985 made a tremendous improvement in publishing the Fearless Flyer. Using a piece of software called Adobe® PageMaker, we were able to dis-intermediate most of the printer’s function and produce camera-ready copy entirely in our office. Pat St. John, whom Alice recruited for us in 1986 as head of advertising, made a great contribution here, cutting lead time by almost a week. Anyone who has been in advertising can appreciate the nerve-racking problems of products that are advertised but didn’t arrive in time to cover the advertising. I would have had a coronary without the Macintosh, which had made it possible to expand the Fearless Flyer from twelve pages to twenty. This created all the more space to advertise products, but it also potentiated the coronary potential, and the almost-as-bad requirement for still more cartoons! Please remember: Trader Joe’s was a low-overhead operation with all of us wearing several hats. Sure, some of the above could have been done pre-Macintosh, but at vastly greater expense.

Wang’s first thought was that something was wrong with the film. The camera he had used was a 1988 Leica M2—entirely mechanical, which made it impossible for it to add a date stamp. Given the excellent lens and refined mechanical operation, it was considered a great professional camera even in this digital age.

. Recommendation: One avenue for ensuring that all civilian CCTV equipment is SCORPION STARE compatible by 2006 is to exploit an initiative of the US National Security Agency for our own ends. In a bill ostensibly sponsored by Hollywood and music industry associations (MPAA and RIAA: see also CDBTPA), the NSA is ostensibly attempting to legislate support for Digital Rights Management in all electronic equipment sold to the public. The implementation details are not currently accessible to us, but we believe this is a stalking-horse for requiring chip manufacturers to incorporate on-die FPGAs in the one million gate range, re-configurable in software, initially laid out as DRM circuitry but reprogrammable in support of their nascent War on Un-Americanism. If such integrated FPGAs are mandated, commercial pressures will force Far Eastern vendors to comply with regulation and we will be able to mandate incorporation of SCORPION STARE Level Two into all digital consumer electronic cameras and commercial CCTV equipment under cover of complying with our copyright protection obligations in accordance with the WIPO treaty. A suitable pretext for the rapid phased obsolescence of all Level Zero and Level One cameras can then be engineered by, for example, discrediting witness evidence from older installations in an ongoing criminal investigation. If we pursue this plan, by late 2006 any two adjacent public CCTV terminals—or private camcorders equipped with a digital video link—will be reprogrammable by any authenticated MAGINOT BLUE STARS superuser to permit the operator to turn them into a SCORPION STARE basilisk weapon. We remain convinced that this is the best defensive posture to adopt in order to minimize casualties when the Great Old Ones return from beyond the stars to eat our brains.

In the end, it was why he’d decided to leave the camera in his bedroom’s ventilation. The day after Diana disappeared, he’d called an escort service and asked for a dark-skinned brunette in business attire and glasses. He’d instructed the operator that he wanted the girl to respond to the name Olive. He always made Olive keep the glasses on, made her face the foot of the bed so she was right in front of the camera. He wanted Olivia’s whole surveillance team to see him pounding a carbon copy of their boss. He wished he could have been there, seen her face when she watched the footage. Bet you lost that composure of yours? Tell the truth, Princess, Did you get excited? Thinking about it, now, he was worked up enough to call and see if Olive was available this evening,

She ran away from home at age seventeen and hooked up with three outlaw bikers who gang-raped her on the way to Sturgis. She had an abortion in Memphis and spent three months in jail for soliciting at a truck stop on I-40. The next two stops were Big D and New Orleans and runway gigs with a G-string and pasties, then Acapulco and Vegas with oilmen who could buy Third World countries with their credit cards. Miami was even more lucrative. She went to work for a former CIA agent turned political operative who set up cameras in hotel rooms and blackmailed corporate executives and Washington insiders. She helped destroy careers and lives and woke up one morning next to the corpse of a married man who died from an overdose in his sleep and whose family she had to face at the police station. One week later, she swallowed half a bottle of downers, turned on the gas in the oven, and stuck her head in. Three weeks later, she slashed her wrists. One month after that, she helped a pimp roll a blind man. It’s not the kind of personal history you forget.

The most beautiful of all photographs are those taken of savages in their natural surroundings. The savage is always confronting death, and he confronts the lens in exactly the same manner. He does not ham it up, nor is he indifferent. He always poses; he faces up to the camera. His achievement is to transform this technical operation into a face-to-face confrontation with death. This is what makes these pictures such powerful and intense photographic objects. As soon as the lens fails to capture this pose, this provocative obscenity of the object facing death, as soon as the subject begins to collude with the lens, and the photographer too becomes subjective, the 'great game' of photography is over. Exoticism is dead. Today it is very hard indeed to find a subject - or even an object - that does not collude with the camera lens. The only trick here, generally speaking, is to be ignorant of how one's subjects live. This gives them a certain aura of mystery, a savagery, which the successful picture captures. It also captures a gleam of ingenuity, of fatality, in their faces, betraying the fact that they do not know who they are or how they live. A glow of impotence and awe that is completely lacking in our tribes of worldly, devious, fashion-conscious and self-regarding people, always well-versed in the subject of themselves - and hence devoid of all mystery. For such people the camera is merciless.

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…After seventeen minutes of panicky crowds destroying everything in their path, Eric could distinguish, despite all the chaos and hellish noise, the slight buzz of a second plane. He started counting to himself, watching the blazing inferno at the North Tower: One, two, three, four, five, six, seven… The second Boeing glided into the South Tower, WTC-2, and it seemed to Eric that this plane was flying slowly, that its impact was a soft one… Due to the pandemonium all around, the impact itself seemed not to be as loud as the first hit. Still, in a moment the second twin was also blazing. Both skyscrapers were on fire now. Novack looked up again at what had happened a minute before: the terror attack of the century. Then he started walking fast down Church Street, away from the huge buildings that were now on fire. He knew that in about an hour, the South Tower was to collapse completely, and half an hour after that, the same was to happen to the North Tower, which was also weakened by the impact. He knew there were tons of powerful Thermate in both buildings. Over the course of the previous two months, some fake repairmen had brought loads of it into the towers and put them in designated places around the trusswork. It was meant to make buildings collapse like card towers, which would only happen when the flames reached a certain point. The planes had started an unstoppable countdown as soon as they hit the buildings: these were the last minutes of their existence. Next in line was the third building: 7 WTC, which stood north of the Twin Towers. It counted forty-seven floors, and it too was stuffed with Thermate. Novack started getting concerned, however, that the third plane seemed to be late. Where’s the third plane? Why is it late? It’s already fifty minutes after the first impact, and they were supposed to hit the three targets with a time lag of about twenty minutes. Where are you, birdie number three? You are no less important than the first two, and you were also promised to my clients… People were still running in all directions, shouting and bumping into each other. Sirens wailed loudly, heartrendingly; ambulances were rushing around, giving way only to firefighters and emergency rescue teams. Suddenly hundreds of policemen appeared on the streets, but it seemed that they didn’t really know what they were supposed to do. They mostly ran around, yelling into their walkie-talkies. At Thomas Street, Eric walked into a parking lot: the gate arm was up and the security guy must have left, for the door of his booth stood wide open… …Two shots rang out simultaneously during the fifth and the longest second. They were executed synchronously, creating a single, stinging, deadly sound. The bullet from the sixth floor of the book depository went straight up into the sky, as planned. The second bullet shot out of a sniper rifle, held confidently in the arms of a woman behind the hedge, on the grassy knoll. It was her bullet that struck the head of the 35th US president, John Fitzgerald Kennedy. The woman walked quickly down the grassy knoll. Stepping only about five meters away, she put her rifle into a baby pram waiting there, with a real six-month-old baby boy whimpering inside it. She put on thick glasses and started walking away, exhibiting no haste. Only thirty seconds after the second shot, the woman was gone, nowhere to be seen… After the second or, rather, the third shot, the one from the knoll, President Kennedy’s head was tossed back. Jackie somehow managed to crawl onto the back hood of the car. A security agent from the escort car had already reached them. The motorcade picked up speed and disappeared under the overpass. Zapruder’s camera kept whirring for some seconds. He must have filmed the whole operation – that is, the assassination of an acting US president. But now he simply stood there without saying a word, completely dumbfounded...

Bring binoculars, and make sure your phones are charged so we can take pictures." "You'd get better images with a drone," Anil said. "I've just modded up my DJI Air 2S. It's got an operating time of around thirty minutes and the camera capabilities really make it shine. We'll be able to get close-up images while maintaining the fifty-foot distance from people required by law. It's not the best surveillance drone out there, but it was all Santa could afford this year." "Looks like the heist is a go," I said into the silence. I wasn't sure if everyone was blown away by Anil's expertise or by his reference to the big man in the red suit, but whatever. We had a plan.

Instead of hiding bodies in mass graves, corpses were triumphantly displayed, as when the Jalisco New Generation (while still part of El Chapo’s Sinaloa cartel) dumped the thirty-five bodies on an avenue in Veracruz in September 2011. In reply, the Zetas scattered twenty-six corpses in Jalisco and a dozen in Sinaloa. On closer inspection, the bodies were those of ordinary citizens, not criminals: they were workers and students who had been abducted and murdered and displayed in order to strike fear in the heart of anyone who doubted the murderous resolve of the Zetas... In To Die in Mexico: Dispatches from Inside the Drug War, John Gibler writes about a related series of bizarre and violent episodes that took place in Torreón, in Coahuila state, bordering Texas: “Who would believe, for example, that the warden of a state prison would let convicted killers out at night and loan them official vehicles, automatic assault rifles, and bulletproof vests, so that they could gun down scores of innocent people in a neighboring state and then quickly hop back over the state line and into prison, behind bars, a perfect alibi. Who would believe that a paramilitary drug-trafficking organization formed by ex−Special Forces of the Mexican Army would kidnap a local cop and torture him into confessing all of the above details about the prisoners’ death squad, videotape the confession, execute the cop on camera with a shot to the heart, and then post the video on YouTube? Who could fathom that the federal attorney general would, within hours of the video-taped confession and execution being posted online, arrest the warden, and then a few days later hold a press conference fully acknowledging that the prisoners’ death squad had operated for months, killing ten people in a bar in January 2010, eight people in a bar in May 2010, and seventeen people at a birthday party in July?” Yet all of this actually happened. During April 2012, when El Chapo was at war with the Zetas, fourteen torsos — armless and legless bodies — were found in a car by the side of the road in Nuevo Laredo. Dead Zetas. Some of the torsos were in the trunk, for which there is a specific narco term: encajuelado (“trunked”; therefore, trunks trunked). Soon after, in Michoacán state, the Zetas met their match in the person of Nazario Moreno (called El Más Loco, the Craziest One), leader of the ruthless Templarios, the Knights Templar cartel, whose recruits were required to eat human flesh—their victims’— as part of their initiation rites. When Moreno was gunned down by the Mexican army in 2014, the Zetas flourished, and remain dominant. But there was a posthumous bonus for the Craziest One: he was promoted to sainthood. In and around his birthplace in Apatzingán, shrines and altars were erected to Saint Nazario, the dead capo represented as a holy figure in robes, venerated by credulous Michoacanos.

Ask yourself: What assets or capabilities do you need to be successful in this comfort-and-safety-as-a-service proposition? For example, you would need the capability to assemble and distribute the necessary HVAC equipment, security cameras, and other physical infrastructure. This, fortunately, may be a capability you already possess as an equipment manufacturer. But chances are that such a player would lack at least a few other critical capabilities. For instance, you would need the ability to install and maintain that equipment, which may go beyond the scope of your current operation. Perhaps most importantly, you would need an online platform to connect all the devices, sensors, and other equipment—allowing for the creation of digital twins for real-time remote digital monitoring. This online platform would also allow customers to make adjustments, access camera footage, and manage their subscription, all in one place.

that it’s getting tougher and tougher to pin their jobs on hoods, tougher to make a rap stick. For good or ill, that’s the way it is. You damn near have to catch them in the act of dismembering the body … And I had it. I was lugging my damned camera. Maybe there’d been a reason—besides the fact that I had some splendidly provocative shots of Tootsie in the exposed footage—for my hanging onto the Bolex. The next best thing to actually catching hoods in the commission of a crime should be a movie of them in the middle of it. A shot of them chasing after me, shooting at me, should be enough for any court in the land, temporarily. That meant I would have to get into the film somehow, myself, while taking care that the action was merely of the boys shooting at me, not in me. So, for one, I couldn’t stand holding the camera, filming them while they ran down on top of me. And for another, I was going to have to run at least another mile. But I was quite a bit ahead of them now—though a shot still rang out from time to time—so I sprinted as hard as I could for a hundred yards, the last thirty of which were quite straight, and then skidded to a stop. The Bolex was battery-operated and, once started, would function unaided until the film ran out, if I locked the shutter release down. But there was only one hundred feet of film, and that would run past the lens in four minutes. I didn’t think I could be sure of running another mile in four minutes—not after what I’d recently been through. In fact, I was pretty sure I couldn’t. But there was still a way. If I set the camera speed to expose not the normal sixteen frames a second but only eight, which I could do merely by turning a little knob on the side of the camera, the thing would run twice as long, or for eight minutes. True, when projected it would be in fast motion, the action speeded up, but that didn’t matter. The faces—and guns—of those lobs would be identifiable. The only ticklish part, actually, after adjusting the lens aperture and frames-per-second setting, was spotting a limb in the right place and at the right angle to hold the camera firmly. But I found one suitable, jammed the Bolex into place pointing back down the path, depressed and locked the shutter release to start it whirring and moved out of there.

The CIA also claimed in retrospect that its surveillance cameras had failed to photograph Oswald on any of his five trips to the Cuban and Soviet Embassies. HSCA investigators were blocked by the CIA from access to its surveillance photos (Lopez Report, pp. 90-91). Yet even CIA witnesses were skeptical of the agency’s claim: “CIA officers who were in Mexico in 1963 and their Headquarters counterparts generally agreed that it would have been unlikely for the photosurveillance operations to have missed ten opportunities to have photographed Oswald” (ibid., p. 91). Also arguing against the CIA’s claim was its surveillance cameras’ success in taking pictures at the Soviet Embassy in October 1963 of the mystery man who was not Oswald, yet who corresponded to the October 8 CIA cable’s wrong description of Oswald as “apparent age 35, athletic build, circa 6 feet, receding hairline, balding top.” Freedom of Information lawsuits have forced the CIA to surrender twelve photographs of this man. These photos provide further evidence of an Oswald impostor. The CIA has never identified the man.

The Role of Technology in Preventing and Solving Burglaries The world of crime and law enforcement has seen significant technological advancements in recent years. One area where technology has played a vital role is in preventing and solving burglaries. In this blog, we will explore the evolving role of technology in addressing burglary and the various ways it is employed by both law enforcement agencies and homeowners to combat this crime. 1. Home Security Systems One of the most visible and effective uses of technology in burglary prevention is home security systems. These systems often include surveillance cameras, motion sensors, and alarm systems. The ability to monitor and control these systems remotely through smartphone apps has given homeowners a valuable tool in protecting their property. 2. Smart Locks and Access Control Modern technology has given rise to smart locks and access control systems. Homeowners can now control and monitor access to their properties through smartphone apps. This technology allows for greater security and easier management of who enters your home, making it harder for burglars to gain unauthorized access. 3. Artificial Intelligence and Predictive Policing Law enforcement agencies are using artificial intelligence and data analysis to predict and prevent burglaries. By analyzing historical crime data, AI can identify patterns and hotspots, enabling police to allocate resources more effectively. Predictive policing can lead to faster response times and a more proactive approach to preventing burglaries. 4. Video Surveillance and Facial Recognition High-definition video surveillance and facial recognition technology have become powerful tools for both homeowners and law enforcement. Surveillance cameras with facial recognition capabilities can help identify and track potential suspects. This technology can aid in capturing clear images of burglars, making it easier to apprehend them. 5. Social Media and Digital Footprints Social media has become a valuable source of information for law enforcement. Burglars often inadvertently leave digital footprints, such as posts, photos, or location data, that can link them to crime scenes. Detectives can use these digital clues to build cases and identify suspects. 6. DNA Analysis and Forensics Advancements in DNA analysis and forensics have revolutionized the way burglary cases are investigated. DNA evidence can link suspects to crime scenes and help secure convictions. This technology has not only led to the solving of cold cases but also to the prevention of future crimes through the fear of leaving DNA evidence behind. 7. Community Apps and Reporting Many communities now use smartphone apps to report suspicious activities and communicate with neighbors. These apps have become effective in preventing burglaries through community engagement. They facilitate quick reporting of unusual incidents and can be a deterrent to potential burglars. Conclusion Technology has significantly improved the prevention and solving of burglaries. Homeowners now have access to advanced security systems, while law enforcement agencies use data analysis, surveillance, and forensics to track and apprehend suspects. The synergy between technology and law enforcement has made it increasingly challenging for burglars to operate undetected. As technology continues to advance, the fight against burglaries will only become more effective, ultimately making our communities safer.

Tampa is a long way from New York, but our men and women were not parochial. They have been citizens of the entire nation and were so remembered. When you read this impressive list of important people who lived among us, bear in mind that among those who live with us now are others who are just as important. We are not a bunch of has-beens or never-weres. You'll read about us in the Times. Then followed a list of eleven onetime residents whose obituaries recounted the worthy contributions they had made, including a woman who had been a noteworthy missionary in Africa; a painter whose works had been widely shown; a general with many medals; a businessman whose operations had covered a dozen states; a newspaper editor who had fought the good fights and won two Pulitzers for doing so... That led to a discussion of what criteria the Times probably used in deciding which deaths to memorialize and how much space to accord to each. The men also wanted to know why certain obituaries started on the front page and carrier over, while others did not- as, for example, Margaret Mead on front page, full page later; Edward Land full page later but no front page. Here Jimenez volunteered a suggestion: 'Dr. Mead dealt with ideas, Land only with things. His invention of the Polaroid camera was a contribution, but a limited one. Her probing into primitive societies enlightened us all.' The men concluded that an editorial board probably adjudicated placement along the lines suggested by Jimenez. p227

Renee lifted her trusty Nikon and snapped a few shots of the car and the plate as it flew into the garage. The camera’s sturdy black housing was dinged and scratched from countless operations around the Mideast, but it was still as functional as it had been the day she bought it. It was her safety blanket and one of her only real possessions. She checked the images on the digital display just as a Chevy Malibu crept down the street and pulled into the target location. Renee knew she had to move or risk missing the meeting.

His features were Middle Eastern, his eyes haunted but also defiant. They were all defiant, Gray had found. When he looked at someone like al-Omari, Gray couldn’t help but think of a Dostoyevsky creation, the displaced outsider, brooding, plotting and methodically stroking a weapon of anarchy. It was the face of a fanatic, of one possessed by a deranged evil. It was the same type of person who’d taken away forever the two people Gray had loved most in the world. Though al-Omari was thousands of miles away in a facility only a very few people even knew existed, the picture and sound were crystal clear thanks to the satellite downlink. Through his headset he asked al-Omari a question in English. The man promptly answered in Arabic and then smiled triumphantly. In flawless Arabic Gray said, “Mr. al-Omari, I am fluent in Arabic and can actually speak it better than you. I know that you lived in England for years and that you speak English better than you do Arabic. I strongly suggest that we communicate in that language so there is absolutely no misunderstanding between us.” Al-Omari’s smile faded, and he sat straighter in his chair. Gray explained his proposal. Al-Omari was to become a spy for the United States, infiltrating one of the deadliest terrorist organizations operating in the Middle East. The man promptly refused. Gray persisted and al-Omari refused yet again, adding that “I have no idea what you’re talking about.” “There are currently ninety-three terrorist organizations in the world as recognized by the U.S. State Department, most of them originating in the Middle East,” Gray responded. “You have confirmed membership in at least three of them. In addition, you were found with forged passports, structural plans to the Woodrow Wilson Bridge and bomb-making material. Now you’re going to work for us, or it will become distinctly unpleasant.” Al-Omari smiled and leaned toward the camera. “I was interrogated years ago in Jordan by your CIA and your military and your FBI, your so-called Tiger Teams. They sent females in wearing only their underwear. They wiped their menstrual blood on me, or at least what they called their menstrual blood, so I was unclean and could not perform my prayers. They rubbed their bodies against me, offered me sex if I talk. I say no to them and I am beaten afterward.” He sat back. “I have been threatened with rape, and they say I will get AIDS from it and die. I do not care. True followers of Muhammad do not fear death as you Christians do. It is your greatest weakness and will lead to your total destruction. Islam will triumph. It is written in the Qur’an. Islam will rule the world.

be assigned to carry out another operation instead of EVF switching using the menu system.

This button also is designated as the Fn2 button, and can be assigned another operation through the menu system. The

I’ve mentioned that I never saw the First Couple so much as hold hands without cameras present. Once in the spotlight, they were warm. But that was a lie. Portraying the Clintons as a warm, middle-class family was a calculated marketing ploy, mere political theater.

The Vice President’s Residence is at the Naval Observatory on Massachusetts Avenue, a few blocks from the White House. Technicians at the Control Center of the Technical Service were surprised to see alarms going off at the house. First carbon monoxide, then heat alarms, then other alarms. Even the radiation alarm! Something was seriously amiss. SAs and UD officers immediately responded, letting themselves in. They found Vice President Al Gore standing on a chair, pulling an alarm out of the ceiling, looking for hidden cameras and listening devices.

The most famous faux fatality was “George,” the imaginary welder who was killed during the construction of Pirates of the Caribbean. Evidently, poor George was either electrocuted or crushed by a falling beam and continues to haunt the attraction to this day. Cast members still tell the ghost story to new hires, warning that they best say, “Good morning, George,” when they prepare the ride for opening or they’ll experience a day of breakdowns, evacuations or odd occurrences. “You’ll see or hear something strange,” warned one spooked ride operator. “You’ll see moving shadows on the [hidden camera] monitors or mysterious figures standing in the knee-deep water. You’ll feel a sudden, icy cold breeze. You clean graffiti and it comes back.

a moment later the second of Sverdlov’s men leapt out from behind the truck with his automatic raised. He was about take the shot at Maria, but Cris snapped off two rounds. Both buried themselves in his chest, and he collapsed to the sidewalk in a welter of blood. Bystanders were running, and a woman was screaming. He ignored them, reached the table, and stuck his gun in Sverdlov’s face. "Keep your hands in view, and don't move. Maria, we're leaving. You’ve seen the deal they were about to make with you. All they wanted was to get you here to kill you. Isn't that right, Major?" The Russian didn't reply, but his silence was eloquent. They raced across the street back to the Dodge and leapt inside. Sirens were starting to wail, and they had to get out of the city. He drove away fast and out of town, heading north. “Use your phone. Call March, and tell him we’re heading his way. You’ll be able to ask him about Alexander, and see if he can fix us up somewhere remote to stay. Like before, but not his place, an address with no connection to him, and nowhere near Alexander. They could use him again to reach you.” She made the call. It was brief, and she relayed it to him when she’d finished the call. “March said he’d do what he can to find us a place. Cris, what are you planning?” Her voice sounded different, not frightened, but hollow, empty of hope. He spoke as he weaved through the traffic to get away before someone came after them. The Russians, Chicago PD, U.S. Immigration, and maybe a couple more agencies he wasn’t yet aware of. "We need to go back to where it all started, where these bastards first picked us up. I’ll drive to the floatplane base, and if Warner is still there, I'll get him to fly us back to Vermont. It’s time to get ahead of them and make preparations for when they try again." "Why Vermont?" He frowned; annoyed he’d got it so wrong before. "I made a mistake coming here. I thought we could lose ourselves in the city, but the Russians have the same technical resources as U.S. Law Enforcement. Which means wherever we go, they'll find us. We have to go back to somewhere remote. Where there are no cameras.” “And what then? More shooting, more killing?” It didn’t sound like Maria. More like a frightened girl, frightened for the safety of her son.

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In the next five years another 1,000 nanosats are expected to be launched (seeTechnology Quarterly). Two trends are setting up nanosats for further success. Like people working on everything from robots to 3D printers, nanosat builders are harvesting the benefits of ever better, ever cheaper components built for smartphones and other consumer electronics. Some nanosats even contain complete smartphones, making use of the clever operating systems, radios and cameras which phones now contain. For as long as phones go on getting cheaper and more capable, so will nanosats. The cheapest so far—a tiny chipsat—was assembled for just $25, though it has yet to be successfully launched.

There are two sides to the act of painting: the spot or line of color put on a point of the canvas, and its effect in the whole, which is incommensurable with it, since it is almost nothing yet suffices to change a portrait or a landscape. One who, with his nose against the painter's brush, observed the painter from too close would see only the wrong side of his work. The wrong side is a feeble movement of the brush or pen of Poussin; the right side is the sunlit glade which that movement releases. A camera once recorded the work of Matisse in slow motion. The impression was prodigious, so much so that Matisse himself was moved, they say. That same brush which, seen with the naked eye, leaped from one act to another, was seen to meditate in a solemn and expanding time—in the imminence of a world's creation— to try ten possible movements, dance in front of the canvas, brush it lightly several times, and crash down finally like a lightning stroke upon the one line necessary. Of course, there is something artificial in this analysis. And Matisse would be wrong if, putting his faith in the film, he believed that he really chose between all possible lines that day and, like the God of Leibniz, solved an immense problem of maximum and minimum. He was not a demiurge; he was a man. He did not have in his mind's eye all the gestures possible, and in making his choice he did not have to eliminate all but one. It is slow motion which enumerates the possibilities. Matisse, set within a man's time and vision, looked at the still open whole of his work in progress and brought his brush toward the line which called for it in order that the painting might finally be that which it was ln the process of becoming. By a simple gesture he resolved the problem which in retrospect seemed imply an infinite number of data (as the hand in the iron filings according to Bergson, achieves in a single stroke the arrangement which will make a place for it). Everything happened in the human world of perception and gesture; and the camera gives us a fascinating version of the event only by making us believe that the painter's hand operated in the physical world where an infinity of options is possible. And yet, Matisse's hand did hesitate. Consequently, there was a choice and the chosen line was chosen in such a way as to observe, scattered out over the painting, twenty conditions which were unformulated even informulable for anyone but Matisse, since they were only defined and imposed by the intention of executing this painting which did not yet exist.

Because all of this was the same as a medical “hidden camera,” the difference being that they could no longer catch him off guard; they had already tried so many times that all they could do was risk “hiding the hidden,” hoping to slip it in between levels. He watched them talk, his attention waxing and waning at irregular intervals, as a result of which the two enthusiastic and youthful — almost frenetic — faces he had so close to his began to seem unreal. And they were, he had no doubt about this, though only up to a certain point; because they did belong to two human beings of flesh and blood. The intensive use of hidden cameras in the last few years (in order to pull off all kinds of pranks, but also to catch corrupt officials, dishonest businessmen, tax evaders, and criminal infiltrators into the medical profession) required using up actors at a phenomenal rate, for they could never be employed a second time because of the risk of blowing their cover. They had to always be new, debutants; they couldn’t have appeared on any screen ever before, not even as extras, because given the high degree of distrust that had infiltrated society, the least hint of recognition was enough to ruin the operation. And that same, constantly increasing distrust forced actors to be constantly getting better, more believable. It was astonishing that they didn’t run out of them; of course, they didn’t need to be professionals (with the new Labor Contract Law, they were not strictly required to be members of the union), but in cases where a lot was at stake, it must have required a difficult decision to place the success or failure of an operation in the hands of an amateur.

In Robert Noyce’s office there hung a black-and-white photo that showed a jovial crew of young scientists offering a champagne toast to the smiling William Shockley. The picture was taken on November 1, 1956, a few hours after the news of Shockley’s Nobel Prize had reached Palo Alto. By the time that happy picture was taken, however, Shockley Semiconductor Laboratories was a chaotic and thoroughly unhappy place. For all his technical expertise, Shockley had proven to be an inexpert manager. He was continually shifting his researchers from one job to another; he couldn’t seem to make up his mind what, if anything, the company was trying to produce. “There was a group that worked for Shockley that was pretty unhappy,” Noyce recalled many years later. “And that group went to Beckman and said, hey, this isn’t working. . . . About that time, Shockley got his Nobel Prize. And Beckman was sort of between the devil and the deep blue sea. He couldn’t fire Shockley, who had just gotten this great international honor, but he had to change the management or else everyone else would leave.” In the end, Beckman stuck with Shockley—and paid a huge price. Confused and frustrated, eight of the young scientists, including Noyce, Moore, and Hoerni, decided to look for another place to work. That first group—Shockley called them “the traitorous eight”—turned out to be pioneers, for they established a pattern that has been followed time and again in Silicon Valley ever since. They decided to offer themselves as a team to whichever employer made the best offer. Word of this unusual proposal reached an investment banker in New York, who offered a counterproposal: Instead of working for somebody else, the eight scientists should start their own firm. The banker knew of an investor who would provide the backing—the Fairchild Camera and Instrument Corporation, which had been looking hard for an entrée to the transistor business. A deal was struck. Each of the eight young scientists put up $500 in earnest money, the corporate angel put up all the rest, and early in 1957 the Fairchild Semiconductor Corporation opened for business, a mile or so down the road from Shockley’s operation.

Of all the companies I know well, Apple did the best job of creating a great environment for people in a rock star phase. The company’s organizational design optimized for deep functional expertise. There were no “general managers.” There was no iPhone division. Instead, there were operating system engineers, camera experts, audiophiles, and glass gurus who came together around the iPhone. There were always people around who knew some functional aspect of the product more deeply than anyone else, and they were revered for it.

Almost intermixed with the animals are the Masai following the grass cycle with their cattle herds, living off the milk and blood of their cows. We would go early in the morning from a base camp in Land Rovers and all-terrain vehicles, armed with cameras and binoculars. The tour operators apologized for the presence of the Masai.

As we stood in the red room waiting for our scores, the operation was put in motion. Earlier I’d given the ring to the show’s production assistant, Tracy. She discreetly handed the ring to Sharna behind her back. I was waiting for my signal. Sharna hit me on the back with the ring in her hand and I reached back and grabbed it. I turned to Jamie. “You’ve been so supportive,” I said, “I love you so much, Jamie, and there’s no better place I’d rather do this than right here.” And I went down to one knee and asked her to marry me. She said yes and hugged me. Erin Andrews, who had no idea, said, “Oh my gosh! Jamie, did you say yes?” Jamie replied, “Oh, heck yes!” Everyone in the room was crying and cheering. It was amazing. After the cameras stopped rolling to cut to commercial, Erin pretty much collapsed into a chair and said, “Oh my God, Noah, you could have told me! I almost cried on national television.

In Florida we got to hang out with some of America’s finest at Eglin Air Force Base. The army Rangers there had been clearing a section of bush for doing operations and had encountered a huge eastern diamondback rattlesnake. Diamondbacks grow to be the largest rattlers anyway, but this one was big for another reason: She was pregnant. Not long after the Rangers’ reptile handlers had transported her back to a holding facility, she gave birth. We watched as the newborn rattlers worked their way out, lay still for a short moment, and then immediately began striking at everything and anything nearby. Although it was a great defense mechanism, in case a predator was about to eat them, it appeared pretty comical. Bite, bite, bite, strike, strike, strike. Then they would curl up and hide for a while. Soon enough it was back on the offensive: bite, strike, bite. They were all fang, and trying to look tough. An interesting way to greet the world. Steve and I scooped up the baby rattlesnakes and held them until they went through their strike phase. We made sure to set them down before they went back to their frenzied biting. “What happens if you’re bitten by a venomous snake while you are breastfeeding?” Steve asked. “I don’t know,” I answered. “I’d probably have to stop breastfeeding, right?” “Just be sure not to get bitten,” Steve said. “Deal,” I said. I scooped up a little wet rattler, talked to the camera, then set the snake back down. Boing, boing, boing went the baby rattler, jumping madly around, trying to bite everything. Even the Rangers laughed. Once the Rangers had completed their training mission, all the dangerous wildlife they collected (including the rattlers) would go right back where they came from. We were very proud to have worked with some of America’s heroes.

The constant needle and edge in their working relationship is matched by a cloak of secrecy the warring offices throw around their rival operations. Diana had to use all her guile to tease out information from her husband’s office before she flew to Pakistan on her first major solo overseas tour last year. She was due to stopover in Oman where Prince Charles was trying to woo the Sultan to win funding for an architectural college. Curious by nature, Diana wanted to know more but realized that a direct approach to Prince Charles or his senior advisers would receive a dusty response. Instead she penned a short memo to the Prince’s private secretary, Commander Richard Aylard and asking innocently if there was anything in the way of briefing notes she needed for the short stopover in Oman. The result was that, as she was travelling on official Foreign Office business, the Prince was forced to reveal his hand. In this milieu of sullen suspicion, secrecy is a necessary and constant companion. Caution is her watchword. There are plenty of eyes and ears as well as police video cameras to catch the sound of a voice raised in anger or the sight of an unfamiliar visitor. Tongues wag and stories circulate with electrifying efficiency. It is why, when she was learning about her bulimic condition, she hid books on the subject from prying eyes. She dare not bring home tapes from her astrology readings nor read the satirical magazine Private Eye with its wickedly accurate portrayal of her husband in case it attracts unfavourable comment. The telephone is her lifeline, spending hours chatting to friends: “Sorry about the noise, I was trying to get my tiara on,” she told one disconcerted friend.

The yard and the walk outside grew crowded with cops and media people and rubberneckers from the neighborhood drawn by gathering news vans. Between questions I watched the on-air television talent fan out among the cops. A woman I’d seen a thousand times on the local NBC affiliate was talking with her camera operator when the camera operator saw me standing in the window and pointed me out. The reporter said something and the operator trained his camera on me. The reporter ducked past Flutey and hurried over to the window. She was all frosted hair and intelligent eyes. “Are you the detective who found the kidnappers?” I gave her Bill Dana. “My name José Jimenez.

me from the president’s speech even more. In fact, it was distracting everyone in the audience as well. Jason Stern had wet his pants. The moment the president began speaking, a large wet spot had bloomed right in the crotch of Jason’s pressed khakis. Jason didn’t seem to realize what had happened, but everyone else sure did. The entire crowd was gaping at him and, more often than not, trying to restrain their laughter. The camera operators subtly shifted their lenses from the president to his son. Through it all, Jason stood by the podium with his standard smug grin, completely unaware of what was going on. I caught Erica’s eye in the crowd. Even she was trying not to laugh. She also seemed quite pleased with herself. I had no idea how she’d done this to Jason. Perhaps it involved some sort of high-tech, time-released hydration pellets. Or maybe she had smuggled in a long-range water gun and scored a direct hit. But however she’d managed it, it had worked beautifully. Jason Stern, who’d been such a relentless jerk to me, was about to become a national laughingstock. The ceremony was on live TV, and my friends were already on their phones, doubtlessly posting photos online. Many adults appeared to be doing the same thing. Including a couple of congresspeople. President Stern hadn’t noticed yet himself, although he was starting to sense that something

back to the border with Belarus. Though he would have liked to have gotten some sleep, he kept his eyes open and his head on a swivel the entire way. When they met up with the Old Man’s smugglers and said their good-byes, he thanked her. She had taken a lot of risks on his behalf and he wanted her to know how much he appreciated it. Without her, this could have very well turned into a suicide operation. Climbing into the smuggler’s truck, he made himself comfortable for his next six hours of driving to the border with Poland. There, he’d at least be back in NATO territory, though he couldn’t let his guard down. At least not fully. It wasn’t until he was back on The Carlton Group jet and in the air that the weight of everything he had been under started to lift. Once he was in international airspace, he got up and poured himself a drink. Returning to his seat, he raised the glass and toasted the Old Man. He hoped that somewhere, up there, Reed was proud of him. As he sat there, sipping his bourbon, Harvath conducted a mental after-action report. He went over every single detail, contemplating what he could have done differently, and where appropriate, what he could have done better. Once his review was complete, he went through all of it again, looking for anything that might identify Alexandra, or tie her directly to him. Fortunately, there was nothing he could come up with to be worried about. From Josef’s hospital where she had avoided the cameras and had stayed bundled up, to the interaction with Minayev’s mistress where she had worn the balaclava, and finally to the security guards at Misha’s loft where she had been wearing a dark wig and heavy makeup while making sure to never face the cameras, she had been the perfect partner. Even outside on Moscow’s streets, she had made sure they stayed in the shadows. Alexandra, thinking of everything, had taken down the telephone number of the management company for the building where they had left the hospital worker tied up. She had promised to phone in either a noise complaint or some sort of anonymous tip, so that the man would be found and cut loose. He didn’t know how she planned to get the envelopes

Over the next 50 years, Vail’s organization—eventually called the Bell Telephone Laboratories—produced the transistor, the solar cell, the CCD chip (used inside every digital camera), the first continuously operating laser, the Unix operating system, the C programming language, and eight Nobel Prizes. Vail created the most successful industrial research lab in history, and AT&T grew into the country’s largest business.

A good medium like Mrs. Ethel Meyers will immediately get “impressions” upon arriving, and sometimes even on the way toward our goal. A little later, she will lapse into a trance, and in this condition, the alleged ghost can operate her vocal cords, and speak to me directly. Sometimes there is another sitter present, and sometimes not. I take notes or use a tape recorder, or both. And sometimes, too, there is an infrared camera present, just in case. After the trance is over, the medium awakens without remembering anything that has just come through her mouth or vocal cords while under the control of an alleged ghost. Sometimes, though not often, the medium recalls all or part of the information thus received because the trance had been light. This does not mean the medium is faking, or that the material obtained is less reliable; it only means that the medium’s trance faculties are not in full operating condition, and perhaps hypnosis is in order to get her “down deeper” into the unconscious condition. Generally speaking, the medium remembers nothing of what went on during her trance state. Now I allow the hosts and other sitters to discuss the case freely and comment upon what they have just heard or witnessed. Often enough, corroboration takes place right then and there, but more often I have to dig it up in the public library, special libraries, or other sources to which I have access. The research always takes place after the investigation is closed. The Sensitive is never kept abreast of the progress of the corroboration until the case is ready for publication or filing.

own no watches, carry no umbrellas, own no cameras or tape recorders, and to this day I need my wife to adjust the TV set. I own no computer, never have gone near a word processor, have never changed a fuse, emailed anyone, or washed a dish. I’m one of those addled seniors who needs to have all the buttons on the TV rendered unusable by having them taped over so I can only operate the on-off and volume buttons. At sixteen I treated myself to a new typewriter, an Olympia portable. I’ve typed everything I’ve ever written on

The governments of the world went into a frenzy. While Wei sent relatives of the victims of Unit 731 into the past to bear witness to the horrors committed in the operating rooms and prison cells of Pingfang, China and Japan waged a bitter war in courts and in front of cameras, staking out their rival claims to the past. The United States was reluctantly drawn into the fight, and, citing national security reasons, finally shut down Wei’s machine when he unveiled plans to investigate the truth of America’s alleged use of biological weapons (possibly derived from Unit 731’s research) during the Korean War. Armenians, Jews, Tibetans, Native Americans, Indians, the Kikuyu, the descendants of slaves in the New World—victim groups around the world lined up and demanded use of the machine, some out of fear that their history might be erased by the groups in power, others wishing to use their history for present political gain. As well, the countries who initially advocated access to the machine hesitated when the implications became clear: Did the French wish to relive the depravity of their own people under Vichy France? Did the Chinese want to re-experience the self-inflicted horrors of the Cultural Revolution? Did the British want to see the genocides that lay behind their Empire? With remarkable alacrity, democracies and dictatorships around the world signed the Comprehensive Time Travel Moratorium while they wrangled over the minutiae of the rules for how to divide up jurisdiction of the past. Everyone, it seemed, preferred not to have to deal with the past just yet.

Throughout the mission the divers were going to be shadowed by a new remote-controlled device that everyone called a “flying eyeball.” These unmanned orbs, operated from the surface, were about the size of a big beach ball, functioned as mobile klieg lights, and were equipped with cameras so that topside supervisors could watch subsea operations for themselves rather than rely exclusively on garbled Chipmunk narrations.