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The Atlantis that Never Was. . .

Jim Kirwan

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s that were willing to sponsor this venture, which is where the genesis for beginning the project came from.
Atlantis was intended to crush Disney and introduce the public to truly educational, as well as historically accurate adventures and explorations of everything from the tropical rain-forests to the deepest parts of the Universe, through fiber-optic cameras and special effects that could literally 'go where no one has ever gone before.' From interior explorations of the human body to the far reaches of the mind, the imagination and beyond. There were to be time-line places within many civilizations where people could see life as it was, in virtually any time they wished to revisit, not as Disney might have shown it but as it was, uncensored. Technologically this was at least twenty years ahead of its time, and it was derived from ideas that I'd been thinking about for over twenty years then. Atlantis was my own design.
The impetus would have drawn upon The Twi-light Zone, Ray Bradbury, NASA, NOVA, National Geographic, the Smithsonian and other pillars in film, books, and concepts. The goal was to present life in imaginative and challenging ways that would have encouraged critical thought as well as triggered that most elusive part of mind - human curiosity once it can imagine for itself! It was primarily to be done on film, and was to have included a fourth dimension, each experience would have been available to every viewer as their own particular video-tape, taken from their own seat in the one thousand theaters that each Atlantis would eventually have offered. . .
Example: "The use of the Parallax View in high drama. If for instance,one were to do "Macbeth" in the round, the viewer could chose to see the drama from the prospective of any of the four main characters - not just from character's visual perspective, but from within the state of mind of that character as well. While this will at least quadruple the taping, it will provide, in tandem with virtual reality, a much more varied experience than has been heretofore possible. Using a concept developed by Laurence Durrell in his opus, The Alexandrian Quartet, but reduced in scale to the dramatic stage, this would offer new outlets in the performing arts for potential royalties and wider exposure, to say nothing of what it would do for Atlantis."
"For writers and artists of the nineties and beyond, this potential could offer an entirely new way to present their work, (in exchange for real royalties) in a kind of living interactive video that surpasses television or film. This would be to present day technology what The Prisoner was to television of the sixties. . ."
"The Fourth Dimension" explores the line between illusion and reality as Rod Steiger did so well: This concept can be easily envisioned when one looks through the index for the deck - not as cards, but as subjects that continually confront us all in the everyday world: (scroll down)  From each of these subject cards a multiplicity of stories can easily be created, the limitations are bounded only by the imaginations of the writers that might want to undertake the challenge. A series for PBS could easily evolve from such an undertaking, after each has debuted in Atlantis."
To give you the idea of how different the experience within Atlantis could be from other places of entertainment - here's just one detail of the concept:
"Characters" from the productions could be used as holograms to present the repetitive remarks that introduce each program to the viewers, These could be *transported* ala Star Trek to add whimsy and interest to even the mundane aspects of each performance. The holograms could also engage in two way banter from the central control room on each floor, and these same 'characters' (flesh & blood) could also be used in the service sections and concessions areas as well as in the corridors and elevators of the complex.
"Those areas of the lateral (& circular) people-movers that connect the four towers will occasionally pass through 360 degree projections. For instance while waiting in line or moving between the towers: the light grey walls will themselves only be projections. Very gradually these 'walls' are washed by subtle colors. This can turn to autumn leaves that once they become clearly visible, are suddenly caught up in gusts of wind that are then blown skyward/ Using time-lapse photography, the leaves dissolve into gentle clouds in which the viewers are now seemingly suspended; until they begin to sense that the clouds have become the massive thunderheads of an impending storm: only to wink out - leaving people to wonder if that really happened. These kinds of visual gymnastics can be played with all the elements of nature, from coral reefs to the tops of the major mountain chains . . ."
There was a lot more to this concept, into which I put about eighteen months. In the end I got as far as the seed money necessary to build one fully operational theater of the thousands theaters that the first project was to feature. The day the money ($25 million), was due, was the same day that the bank (BCCI) was seized for criminal associations, by global law-enforcement officers. I had not been following politics then, and knew only that the backers had secured the $6 billion (offshore) which the shell of the first buildings would cost. The backers fell away, and several of the concepts were picked off by Universal Studios and Sony and others to appear in their trite forms, rather than as he full blown concepts I tried to initiate. . .
All of this by way of introducing these three video clips, to give you an idea of what anyone challenging the educational or political system in this country is up against: I've been fighting these people my whole life, in every area of publishing except writing. I have had some small successes but in the end they have always erased my efforts. This time is not about me or my efforts it's about what has happened and what is about to happened to us all, unless we overthrow those in key positions that are strangling this society!

Tuesday, May 13, 2008


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