Monday, May 04, 2020

Sedition Of The Light - Part Two

Sedition Of The Light
Commentary provoked by Frank Longo's 
documentary, Capturing The Light
by Alfred Lehmberg

PART 2 (of Two)

When last we met, Dorothy Izatt—the compelling subject of Frank Longo's film documentary Capture The Light—was introduced as the most current humiliation that our state of the art scientific reductionism endures.  See?  Perplexed by UFOs seen for years in day and nighttime skies, she endeavors—as one should, you'd think—to find out what they are.  

You know, take steps.  Make an effortProsecute the proactive.  ...Be brave, reader! 

Something different was in the sky, after all.  Something different had always been in the sky, actually.  Something "different" is in the sky, right now!  ...I'll nip this digression in the bud!

Finally, in an exasperated result of these ongoing sightings, Ms. Izatt called the "authorities": constabulary, airports, newspapers, and other official entities (Tony Stark Eyeroll...), for an explanation.  Rather predictably through our filters, reader, these "official" bodies essentially dismiss her, suggest her "obvious" intoxication, or otherwise imply that she could do a better job keeping up with her meds!  Find no hyperbole in any of the preceding.  

In other words, just what you'd expect from the conflicted, mendacious, and cowardly faux-mainstream.  Such is "authority," eh? Eyes and ears continue to see and hear...

Well—they had their chance, am I right?  Spit in the eye is bad enough without being charged for a wash!

Feeling a little betrayed by polite society, one presumes, Ms. Izatt "hot-lines," local edge radio personality Pat Burns with her report. Burns' producer, Elaine Alexander, fortuitously suggests that Izatt "capture" the UFOs observed... with a camera. BAM!

Izatt promptly purloined her husband's unused Keystone Super-8 and began exposing film! She was tireless in her pursuit!

Well, three decades pass and she's is 30,000 feet in—5.68 statute miles of 8mm celluloid, reader—capturing the visual impossibilities she reports... everywhere she goes!  Such is indeed so.

These "visual impossibilities"—succinctly explained by aforementioned authority—are inexplicable light sources traveling fast enough in an 18th of a second of elapsed time to paint veritable pictures, paint pictures in some strangely lysergic "smeared-light aftermathy" as the artistic medium!  They paint with light!

Moreover, these "brush" movements are precisely employed and deft enough to write Dorothy's name in fluid script three small example... but in an 18th of a second on one frame of film!  

...Cue startled music, eh?

See, a single "point-source light" must have moved quickly and deftly enough in front of Dorothy's camera to script the word "Dorothy" three times in that smidgeon's moment... an eighteenth of a second! It's additionally required that the light must burn very brightly indeed to be perceptible on the film—so succinctly explaining the observed and inexplicable "light flashes" as she films.  

This peculiarity, apart from writing her name in script, suggests that the quick-bright light somehow knows it must get bright enough to expose the film in that moment, or disappear when it moves.  This begs intelligence, folks.  Too—and on the level of the genuine crop circle's cryptic missives in food crops—it bespeaks a cleverness expressing itself in an altogether different manner than has been seen, heretofore! Humans are awash in an unknown, unknown but ludicrously perceive a "known...".

Cutting to the substantive chase, radio Producer Elaine Alexander is très impressed from the start and, surreptitiously enough, even hooks Ms. Izatt up with early last century's A-1 UFO goto-guy: Doctor J. Allen Hynek!  Well, Hynek sorts Ms. Izatt out in scientific short order.  In the end, he is, himself—" Mr. Scientificly and impeccably Respectable"—blown-away! No hyperbole here either...

First, though, there was a complete equipment disassembly, a thorough checking, and subsequently sealed reassembly of Izatt's camera as orchestrated by Hynek.  Too, this "equipment examination" would include Ms. Izatt herself, reader!  

A battery of psychological tests and some hardnosed professional analysis insured Izatt's functionality as a "quality instrument of observation," by report, but satisfying the good Doctor, entirely! Izatt clears the "crazy" hurdle.

"Passed Test" colors flying, Izatt is soon back in business running film through her scientifically certified camera, capturing impossible light, and later... other things, reader... with multiple, better quality cameras now understandably supplied by Hynek.   It gets weirder than even this.  More in a moment.

First, Dr. Hynek advises Izatt to "lay low, and avoid the lunatic fringe" —a fringe, I maintain, sadly generated by the "official information void," largely—but "continue to amass [her] photographic data!"  Izatt does exactly that!  Of note: because she did not remotely seek a "limelight," Izatt "hid out," essentially, for almost 35 years!  

This is a little like Dr. Livingston ("I presume…") walking out of darkest Africa after years of absence in the '30s, reader!  Smoke that, skeptibunkies!

Let's shift gears. Dorothy Izatt is not good news for ufologists who adhere too tenaciously to their stark scientific reductionism, their reflex Cartesianism of over-numbered measurements, or their sullen insistence regarding the prosecution of what could be called an errant and futile "scientific hubris maintenance," as I've pointed out in the link just above.  Izatt's experience appears to be a little richer and more genuinely selfless than that.

See—she's not just a "lone and lonely" nut desperate for attention in the dwindling time remaining her.  In fact, to a degree, and because she is an accomplished woman and matriarch of a grand clan of persons as agreeably reasonable as they are respectful and doting, as Longo plainly shows on film, she neatly refutes the "sad lone-nut" hypothesis. 

Too, based on her unusual assessment of her experience, it might appear that she is going to be the new darling of the so-called "Benevolent Space Brother" crowd... though, not so fast, Skippy!  Break your shin on that one!  Dr. Salla can back off.  Dr. Greer can change his Speedos. 

First, Ms. Izatt knows her business and, second, she is surrounded by a veritable platoon of educated younger men: sons, grandsons, and doting sons-in-law—forgetting the always more dangerous daughters across four generations!  Trifle Ms. Izatt at your peril, I suspect.  

It remains: she communicates to us that "it," whatever "it" is, is decidedly not about her... ...and not all good, reader, not all good... 

Start raising the black felt curtains.  Hear organ pipes rising in a discordant ululation, but then morphing into a rising hope recently intimated.

She advises that individual "intention" is the key.  Good intentions produce good outcomes. Somehow that's not surprising.  

Bad intentions have... disturbing outcomes... ...or what was that lurking briefly behind Dorothy's chair at the 2343 count on the DVD while she discussed the consequences of a "less than pure intention."  

Whatever it is, it is disturbing.  There are other appalling wonders displayed.

Yes, Dorothy Izatt is in contact with something highly strange, she feels... and is able to provide physical evidence for same. Moreover, it communicated to her an expansiveness of her awareness, spanning the entire universe and all the dimensions and bits of intelligence contained therein, too... contact... if I may paraphrase.  

Though, denying the intimated guru-ship errantly suggested, Izatt maintains that she is able to communicate in this way with this ineffable "other" because she is "open to it… and [her] intentions are pure." 

In other words, Izatt has no self-serving agenda to satisfy.  She's confident that anyone with an open aspect regarding them, with no ax to grind, and with proper intention, reader, can communicate with this "other" as she does.  In short, anyone with a mind to, can do! 

It appears that's no idle "airy-fairy" boast, reader!  See, persons who go along with Ms. Izatt on her little back-deck filming forays find that they, themselves, are seeing the subjects photographed, that there is a "communication" of some ethereality personally, and that they are able to photograph them, too?  That's right. 

Stop the train.

At this point, let us sum up briefly:  Predictability.  Check.  Repeatability.  Check.  An abundance of hard physical evidence.  Check.  Measurement of attendant variables: light, speed, rate, frequency... Check.   Quality observer/recorders of the phenomena... Check.  Documented history of the occurrence over decades by vetted persons... uh… check? Well, now.

One would think that all of this would have the now well-battered Cartesian up on his tippy-toes, the reflex "reductionist" reduced to his lowest common denominator, or the compulsory klasskurtxian decidedly if uncharacteristically terse—made sullenly mute even and unable to confabulate the usual "prosaic" to cover Ms. Izatt's adventure, at all! 

Reader! Are not all the attributes of our well-flogged science toeing the line and present for duty… begging to be accounted for?  I would assert that they are!

Frank Longo portrays a very compelling vision of an evolving reality in his film Capturing The Light.  There is no pretense.  There is no confabulation.  There is no vast extrapolation or leap of faith.  It's all there, intelligent if unremarkable persons, persons like ourselves, reader, trying to make sense out of the inexplicable... and succeeding to a degree, somehow! 

Get more information yourself, reader, at Capturing The Light

That's enough, read on. 

Dorothy Izzat with J. Allen Hynek