https://www.tandfonline.com/doi/abs/10.1080/00043249.2010.10791396
https://lmcc.net/residencies/workspace/past_sessions/world_views
https://www.ifar.org/nineeleven/911_residency1.htm
I was seeking your help.
But you seem to be an arrogant dickhead.
What do you know? If anything?
I want to call your attention to the artist groups (E-TEAM and GELATIN) who were selected to be part of the Lower Manhattan Cultural Council (LMCC) World Views / Studioscape (slow link) programs that allowed them and other artists to work and live in the WTC in the four years leading up to 9/11 on different floors, including 91 and 92 of the North Tower.
Additionally, they were given seven day a week construction access to the WTC that allowed them to freely move all sorts of materials in and out of the complex.
(Note: When you give young artists access to a building and work-live space, they’re going figure out everything they can and can’t get away with in there. I’ve lived in several wild artist buildings and from my experience, once they’re in, they can get anywhere they want…especially with climbing gear & harnesses…see photos below.
LMCC and WTC management would know that before approving such a program. For artists to be able to take out windows on the 91st floor and install a makeshift “balcony” (see the NYTimes, August 2001) protruding out of the building should give you some real insight into just how lax WTC security was at that time and how dangerous the LMCC program was. Sounds to me like the WTC was conveniently out of control in the years leading up to 9/11 and that security there was a complete joke as far as these artists and all their friends were concerned…see photos below.)
As you may know, audacity, arrogance and a love of esotericism (“it’s a great piece of artwork…you just don’t get it”) are common features of the art world, especially among privileged and highly connected, younger artists. Therefore, I think it is plausible that the E-Team might also stand for Explosives Team (amongst themselves, their handlers and sponsors) and that Gelatin’s The B-Thing may also be, not so secretly, referring to explosives (see blasting gelatin & note that Gelatin became Gelitin in ’05…wonder why?).
Keep in mind that we gave these foreign groups WTC construction access and allowed them to live directly in the strike zone through the LMCC World Views and Studioscape programs. They would probably look upon most of Americans as complete idiots and that their work was highly sanctioned by the people in charge.
And as incredible as it might sound, I think it is very possible that the “team” (that included many others) may have advertised itself in a major way to their special audience under the cover of “art”, right on the WTC strike zone just before 9/11 (see 127 Illuminated Windows). Further, in an incredible display of audacity and arrogance Gelatin members openly exposed themselves (reportedly naked) to be photographed by helicopter at the location of all their (possible) crimes, prior to 9/11 (The B-Thing).
………..
And finally, in what may be the ultimate esoteric performance art pc. of all time, they might have intentionally photographed individuals (some who may have known what was coming) directly in the initial WTC strike zone, prior to 9/11 (see Quick Click). Yes, this is awful to imagine, but considering the controlled demolition evidence now available to us, it might be important to look at these artists and their artwork in a new light, since the explosives had to be put there by some group of people who had access.
I find it interesting that some of the above artwork has no real significance without the events of 9/11, especially when you consider that these are artists deemed so talented by the LMCC’s standards, that they should be given free studio space and homes in the World Trade Center. LMCC endorsing a simpleminded artist name promotion (E-TEAM), a stand in the window photo shoot w/copter and an “unofficial” dangerous (did they-didn’t they) balcony prank w/copter, just doesn’t add up to me.
(Note: In the years that followed the careers of these two artist groups flourished with shows all over the world. Further, consider the possible message and target audience for this recent photograph. Is that a veiled threat, demanding even faster art career advancement, from those in charge?)
Artists are traditionally known to be good with their hands and to often engage in long and tedious types of work. All you need to do is add a little training and hate to the mix. Note the climbing gear and the detailed outer structure & inner core renderings in the The B-Thing floor plan & photos below. Also consider the very precise timing notes on that plan drawing and how important that kind of thing might be for certain types of activities, when buildings are occupied.
I think these artists can be deadly serious when they want to be and operate behind a sort of clownish artistic facade. Their Trojan Horse analogy is interesting and telling too…however, maybe its inside of the artist as an individual, that the attacker is hiding. Artists as Trojan Horses.
Lastly, I think the Framed Dummies artworks (see below) in the buildings’ concourse and on an outside walkway (one set of them inside & one set of them outside) were yet another part of these possible sick jokes…artwork pieces esoterically referring to framing the Muslims (), who were often portrayed like this in the years right after 9/11…bad guys in the dark outfits…who were always ready to cut someone’s head off, when they weren’t training on their (playground) monkey bars. It’s weird how we don’t see any of that anymore…I guess those images were determined to be firmly implanted.
Knowing artists as I do, I think above scenario is very possible. I’m not accusing anyone here, it all may be very innocent, I’m just stating that it is possible and that it is a very strange set of coincidences under the circumstances. However, I do think it’s of national importance to investigate thoroughly the LMCC programs, its administrators, directors, all WTC/LMCC artists, all related artwork and photography. It sickens me to think that “leaders” could teach young artists to hate and to encourage them to use their creative skills in hateful ways.
Not my writing.
But I did read it.
You framed you question poorly.
I apologize.
I don't know much.
Trying to read everything I can from various sources.
Ran into many intriguing videos and anon posts.
Sorry I said that yo ya, I don't know the truth till today but will continue to learn.
Watching this video at the moment.
A lot I did not know until now.
Tell me what you think fren….
The WTC artist group’s name was Gelatin, which is also a kind of explosive named Gelignite, a type of explosive jelly, according to Wikipedia, “consisting of collodion-cotton (a type of nitrocellulose or gun cotton) dissolved in either nitroglycerine or nitroglycol and mixed with wood pulp and saltpetre (sodium nitrate or potassium nitrate).” Another type of incendiary of which evidence was found in the World Trade Center dust is nanothermite, which can be applied to steel in a “sol-gel” solution, a viscous, gelatinous compound, with paint rollers. Temperatures in excess of the melting point of steel, along with extensive evidence of molten steel at the bottom of the rubble pile, were found at Ground Zero, which cannot be explained by the temperatures which office fires reach. Nor can they be explained by the presence of jet fuel, which is essentially kerosene, with a maximum open-air burning temperature of 1800F. The melting point of steel is 2800F. The temperature of the thermite reaction, which easily melts steel, is 5,000F. A thermite reaction near steel turns it to its glowing orange molten state. Orange rivulets were observed dripping from some points of the towers just prior to their destruction, including from floors occupied by Fuji Bank just below the impact zone. Fused globs of concrete and steel, which would be impossible unless steel’s melting temperature had been reached, were also found.