ZERO-POINT: ‘Secrets of the Unified Field’, Black Projects, Speculative Physics, & The Nazi Bell

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“…I’m calling “fake” on all three components, until we know more about the provenance of these films. But there emergence does raise an interesting question. Surely, at some point, with a technology so in advance of anything in the day, the Nazis would have taken pictures, and probably films, of it. So where did they go? Or did they, like the device itself, disappear into the post-war black projects world of the USA, or of the Nazi International?”


Ms. D.L. spotted the following video on YouTube, and shared it, and given that the topic is the Nazi Bell, you know I just have to blog about it.The video purports to show allegedly real wartime film footage of the Nazi Bell, plus footage of other Nazi flying saucers. We’ll get back to all this.

Here’s the short video:

As one might imagine, there are several things in these alleged film clips that give me pause, and make me question the authenticity of some, if not all, of the footage. First, as the author of the video himself comments, he has spliced together two different films. Thus, we see a video which – to my eye – consists of films of three things: (1) the first black and white film footage of the Bell, chained to the so-called Henge structure, and levitating somewhat “jerkily” and giving off apparently strange glows; (2) a second film of “Nazi flying saucers”, one of which is quite large, with ground personnel moving around them; and (3) more footage of the Bell, this time levitating quite smoothly without the jerking motion seen in the first part. Notably, in this third part, we do not see anything tethering the Bell at all, though given the brightness of the exposure to the film, this may be an effect of possible bleaching obscuring any tethering that may have been there.

Now the possibilities confronting us are these:

(1) that all three portions of the film are fake;

(2) that the first part is fake, and the middle and last parts genuine;

(3) that the first and middle parts are fake, and the last part genuine;

(4) that the first part and last parts are genuine and the middle fake;

(5) that all three portions are genuine.

In my opinion, we can rule out the first part – the one showing the Bell tethered by chains to the Henge and levitating jerkily – as being genuine for two fundamental reasons. Firstly, as Witkowski notes in The Truth About the Wunderwaffe, the Nazis had built an entire powerplant near the test site. He also records that the device was nicknamed by the Germans “the Beehive” because of the loud buzzing sound it made. In Secrets of the Unified Field I speculated that these two things are a signal clue that the Bell required massive amounts of direct current pulsed electricity: hence the power plant, and the buzzing sound of an electrical gate being opened and closed rapidly, producing the sound. In effect, this would have required the Bell to have been tethered to electrical cabling when in operation. We may rule out the first footage as genuine for a third possible reason, in that the device shows a swastika clearly emblazoned, and presumably painted, on it. In Both Witkowski’s, Cook’s and my own speculative attempt to “reverse engineer” the physics and technologies in the device, we all agreed, based on Witkowski’s original research, that the device gave off strong radiation – possibly even in the form of gamma and x-rays – during operation. This would have toasted any painted-on symbol, and the swastika simply would not have been visible at all. The only way to make such a symbol visible would be if it were actually a part of the structure we see. It’s possible, but quite frankly, that’s not what my eyes see. The final problem with this footage is to my mind an equally serious problem as the first two: no one knows what the Bell actually looked like. It is thus curious that after various artists renditions of the Bell, which the video’s author himself uses during his introduction to the film clips, and which renditions appeared in some cases many years before this film, that the device pictured in the film resembles the artists’ renditions so closely. In short: I’m calling part one “fake.”

The second part of the film clip appears to me to be fake, simply for the reason that if the Bell, as speculated by Witkowski, Cook, and me, was the Nazi antigravity technology, then it would require a leap forward in technology to use it as the drive for any “saucers” that we simply do not see. This is an important  point, because as my attempts to reconstruct or “reverse engineer” a possible physics and reasoning process for the Bell from the details provided in Witkowski’s book demonstrate, the device was not capable of maneuver, and one would have to solve the radiation problem in order to make it safe to use. The other problem, of course, is that if one is building entire powerplants to service the device, then using it in the saucers would have required a massive leap forward in battery/capacitor technology to be usable in flying craft. I just do not think this is possible. which leaves another operative principle for the saucers. Unfortunately, as I’ve also pointed out, when one looks for details about the physics and thinking behind such saucers, one finds very few details. In other words, one does not have the details about them that one has about the Bell to reconstruct or reverse engineer a speculative physics behind them. There are, of course, the allegations of Nazi saucers using vectored jet turbine exhaust, but these do not look to be anything close to what such craft might look like. We see no intake on the large saucer, and but the faintest of indications of a turbine in the second, smaller one. There is the possibility of microporous material, but there is no way to check any of it. So I am strongly inclined to view the second part of the film as fake as well. Indeed, the problems with the first two parts of this film suggest the possibility to my mind that they may be an attempt to obfuscate the Bell story – and hence any speculations about it such as Cook’s or my own – by entangling it with dubious footage.

To my mind, the most interesting footage is actually the third part, and if any footage might have some claim to authenticity, it’s this component. But here again, the problem of the device’s resemblance to artistic renditions done years before the film’s discovery cast a huge cloud of doubt on the whole thing, plus – again – the fact that no tethering is visible. The only thing saving the tethering issue here is the (to my mind) remote possibility that the over-exposure of the film might be obscuring it, and that the over-exposure might be due to the radiation effects given off by the device. But that, of course, does not resolve issue of the fact that the artistic renditions which – again – appeared many years before the film, when nothing really was known about the exact shape of the device, resemble the device seen in the films so closely.

So, for the moment, and for the above stated reasons, I’m calling “fake” on all three components, until we know more about the provenance of these films.

But there emergence does raise an interesting question. Surely, at some point, with a technology so in advance of anything in the day, the Nazis would have taken pictures, and probably films, of it. So where did they go? Or did they, like the device itself, disappear into the post-war black projects world of the USA, or of the Nazi International?

One final point: I am, as far as I know, the first one to point out the similarities between the Bell and the Kecksburg Acorn, but, unlike the author of the film. I did so on the basis of a number of datapoints connecting the two objects. I did not however, draw the conclusion that it was an American test gone wrong.

So back to the main story: bottom line as of this writing, until we know more (much more) about these films, I’m calling “fake” for all three, and hold open a slight possibility that only the third part might be genuine.

See you on the flip side.

About Joseph P. Farrell

Joseph P. Farrell has a doctorate in patristics from the University of Oxford, and pursues research in physics, alternative history and science, and “strange stuff”. His book The Giza DeathStar, for which the Giza Community is named, was published in the spring of 2002, and was his first venture into “alternative history and science”.



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