Israeli Art: The 9/11 World Ending Ritual /🧵 The 9/11 event that...
Korobochka (コロボ) 🇦🇺✝️🇷🇺@cirnosad
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Sep 12, 2026
~16 min read
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Israeli Art: The 9/11 World Ending Ritual /🧵
The 9/11 event that struck the amazing city of Manhattan, NYC, changed the world in a very negative way, and is such a deep rooted inception that it has affected your life more than even the COVID-19 event. Yet, so many people are not familiar with the architecture of this terroristic art piece. You see, 9/11 was part terror, part specials and part intrigue, but all these parts came together to form one piece of art for those privy to what was really going on.
In the memories of the majority of people witnessing the horror of 9/11, besides the alleged hijackings and crashes, were two distinct moments:
(A) The people jumping out of the two towers, ending up splattered on the floor.
(B) The moment the two tower inexplicably collapsed and disappeared into dust.
Back in 2001, These moments were surreal. Like a magic trick where someone is sawed in half but gut wrenchingly horrifying because people died in the process.
Much has been argued about these events' physics, such as the real temperature on the floors (and people peering out of the tower seemingly unharmed), or the mechanism of the collapse of the towers. Yet no one considered that these moments, intended to be planted in your mind, were chosen with great artistic deliberation which reveals the true ritualistic intent behind the entire event. Every single detail was taken into account, even the date of the terrorist attack.
Israel Art Students
By now the Israeli involvement in 9/11 is largely accepted by the world. Yet what isn't appreciated by most is the true depth of that involvement.
Between 2000 and 2002, according to Fox News reporter Carl Cameron, the US was inundated with "Israeli art students", often posing as other nationalities*. Most famously, they were given residency in both of the world trade centre towers. One group called E-Team, the other Gelatin, both of which allude to explosives of some sort.
One famous group was attached to a company called Urban Moving Systems, who had a mural of the 9/11 event on their van while it was taking place. After their arrest one of the employees involved in this cut out told the FBI that the Israelis were extremely anti-American and bragged:
"Give us twenty (20) years and we’ll take over your media and destroy your country"
Indeed, in ~20 years time the COVID-19 PSYOP began. Yet, the Urban Moving Systems group are a distraction compared to the other two, lesser known groups.
E-Team was largely secretive but we will see very shortly that their involvement in orchestration of the event was undeniable.
Gelatin, however, were so proud of their involvement that they even published a book about it. We will study this book in this thread as it revealed the methods, the intent and even the artistic techniques used to bring a ritual to change the world for the worse.
It came in the form of two Tarot cards revealed on 9/11:
The Tower
and
The Hanging Man
These cards were not random choices. In demonic divination, the tower tarot card represents a sudden unexpected and dramatic change that destroys shaky foundations.
The hanging man usually represents surrendering to the flow of the world, and gaining a new perspective in it -- an allusion to Odin. Yet when combined with the tower, the individual card represents something else: sacrificing yourself entirely to make a larger later.
The combination of the two cards is the most dramatic and power "one-way" combination in Tarot divination, representing a profound, sudden shattering of old structures followed by an essential period of surrender, and a complete shift in perspective.
Which is precisely what happened on and after 9/11. But there is also a hint, in the meaning of the hanging man -- the hanging man is never truly in danger. Odin allowed himself to be hung upside down in order to gain a new perspective (literally, upside down), only up to the point where he was about to die, but no more. He came out of it unharmed, much as Jesus came out of his crucifixion resurrected from death.
Let's make four important observations, before moving on to the book by Gelatin.
1. The rapidly falling man on 9/11, somehow caught with perfect focus (😂) without his clothes flying everywhere, for some reason, decided to fold his leg in precisely the manner of the Hanging Man Tarot card. Pause for a minute to appreciate how difficult it would be to capture this short with smoke everywhere.
2. The South Tower collapsed just like the Tower Tarot card, which even depicted people falling out, the smoke and so on. It even tilted at the top, like the crown, before disappearing.
3. The two world trade centres were not identical. The north tower had a very large antenna. The south tower did not. After both were brought down, a blue light fixture and a pool replaced them, and then instead of building both back, a single tower which combined the two was constructed. Eventually the two are intertwined by the "One World Trade Centre". Why?
4. The day 9/11 has a special meaning, linked to the construction of the towers themselves. The number 9-1-1 was chosen as the police emergency number on January 1968. And on August 6th the same year, the construction of the WTC1 tower began. Why 9/11? There are two reasons, one historical, another artistic. We'll get into them at the end of the thread.
We will start by deconstructing the first two with the help of Gelatin's book celebrating the "art pieces". The next two observations, will bring it and everything that happened after 9/11, all together.
/1
* In the case of "Gelatin", Austrian.
The 9/11 event that struck the amazing city of Manhattan, NYC, changed the world in a very negative way, and is such a deep rooted inception that it has affected your life more than even the COVID-19 event. Yet, so many people are not familiar with the architecture of this terroristic art piece. You see, 9/11 was part terror, part specials and part intrigue, but all these parts came together to form one piece of art for those privy to what was really going on.
In the memories of the majority of people witnessing the horror of 9/11, besides the alleged hijackings and crashes, were two distinct moments:
(A) The people jumping out of the two towers, ending up splattered on the floor.
(B) The moment the two tower inexplicably collapsed and disappeared into dust.
Back in 2001, These moments were surreal. Like a magic trick where someone is sawed in half but gut wrenchingly horrifying because people died in the process.
Much has been argued about these events' physics, such as the real temperature on the floors (and people peering out of the tower seemingly unharmed), or the mechanism of the collapse of the towers. Yet no one considered that these moments, intended to be planted in your mind, were chosen with great artistic deliberation which reveals the true ritualistic intent behind the entire event. Every single detail was taken into account, even the date of the terrorist attack.
Israel Art Students
By now the Israeli involvement in 9/11 is largely accepted by the world. Yet what isn't appreciated by most is the true depth of that involvement.
Between 2000 and 2002, according to Fox News reporter Carl Cameron, the US was inundated with "Israeli art students", often posing as other nationalities*. Most famously, they were given residency in both of the world trade centre towers. One group called E-Team, the other Gelatin, both of which allude to explosives of some sort.
One famous group was attached to a company called Urban Moving Systems, who had a mural of the 9/11 event on their van while it was taking place. After their arrest one of the employees involved in this cut out told the FBI that the Israelis were extremely anti-American and bragged:
"Give us twenty (20) years and we’ll take over your media and destroy your country"
Indeed, in ~20 years time the COVID-19 PSYOP began. Yet, the Urban Moving Systems group are a distraction compared to the other two, lesser known groups.
E-Team was largely secretive but we will see very shortly that their involvement in orchestration of the event was undeniable.
Gelatin, however, were so proud of their involvement that they even published a book about it. We will study this book in this thread as it revealed the methods, the intent and even the artistic techniques used to bring a ritual to change the world for the worse.
It came in the form of two Tarot cards revealed on 9/11:
The Tower
and
The Hanging Man
These cards were not random choices. In demonic divination, the tower tarot card represents a sudden unexpected and dramatic change that destroys shaky foundations.
The hanging man usually represents surrendering to the flow of the world, and gaining a new perspective in it -- an allusion to Odin. Yet when combined with the tower, the individual card represents something else: sacrificing yourself entirely to make a larger later.
The combination of the two cards is the most dramatic and power "one-way" combination in Tarot divination, representing a profound, sudden shattering of old structures followed by an essential period of surrender, and a complete shift in perspective.
Which is precisely what happened on and after 9/11. But there is also a hint, in the meaning of the hanging man -- the hanging man is never truly in danger. Odin allowed himself to be hung upside down in order to gain a new perspective (literally, upside down), only up to the point where he was about to die, but no more. He came out of it unharmed, much as Jesus came out of his crucifixion resurrected from death.
Let's make four important observations, before moving on to the book by Gelatin.
1. The rapidly falling man on 9/11, somehow caught with perfect focus (😂) without his clothes flying everywhere, for some reason, decided to fold his leg in precisely the manner of the Hanging Man Tarot card. Pause for a minute to appreciate how difficult it would be to capture this short with smoke everywhere.
2. The South Tower collapsed just like the Tower Tarot card, which even depicted people falling out, the smoke and so on. It even tilted at the top, like the crown, before disappearing.
3. The two world trade centres were not identical. The north tower had a very large antenna. The south tower did not. After both were brought down, a blue light fixture and a pool replaced them, and then instead of building both back, a single tower which combined the two was constructed. Eventually the two are intertwined by the "One World Trade Centre". Why?
4. The day 9/11 has a special meaning, linked to the construction of the towers themselves. The number 9-1-1 was chosen as the police emergency number on January 1968. And on August 6th the same year, the construction of the WTC1 tower began. Why 9/11? There are two reasons, one historical, another artistic. We'll get into them at the end of the thread.
We will start by deconstructing the first two with the help of Gelatin's book celebrating the "art pieces". The next two observations, will bring it and everything that happened after 9/11, all together.
/1
* In the case of "Gelatin", Austrian.
0:36
2
Before we open the Gelatin's "B-Thing" (bomb thing?) book, let's get an interesting observation about the two Israeli art student "teams" out of the way.
E-Team was responsible for WTC1, the North Tower. They were in Manhattan around March 2001, just half a year before the events of 9/11. This team consisted of Franziska Lamprecht, Hajoe Moderegger and Daniel Seiple who presented themselves as Germans. A close look at Daniel Seiple reveals his distinctly Jewish physiognomy. As hard as I looked, I have not found any additional output of the E-Team than this photograph where they flick the lights on the tower. This is not very "artistic".
What does E-Team stand for? Well, given what happened to precisely the floors they occupied, obviously it was explosives team. Ironically President Donald Trump would later claim, on the very day of 9/11 and the days after it, that there were explosives planted in the towers exactly where these "artists" stood.
Gelatin, on the other hand were supposedly on the exact same floor as E-Team, the 91st floor, just above the floors that exploded, of WTC1. Yet, as many have pointed out, some floors of WTC2 were entirely unoccupied when the E-Team photograph was taken and precisely these floor had a similar explosion.
In terms of a name, you don't even have to be creative to think of a connection between Gelatin and explosives, because Gelatin IS the name of an explosive, aka blasting agent, aka gelatin dynamite, aka gelignite, aka jelly. That this was a coincidence is ridiculous.
But believe it or not, what you're about to read will make this famous observation seem mundane.
Without further delay, let's open up Gelatin's B-Thing, brace yourselves. It is one of the most evil documents I have ever handled, and I've read extremely evil documents in my time. Like the types of hints a murderer leaves behind (e.g. the Zodiac killer), but the subject of this murder was the entire world we used to know.
/2
E-Team was responsible for WTC1, the North Tower. They were in Manhattan around March 2001, just half a year before the events of 9/11. This team consisted of Franziska Lamprecht, Hajoe Moderegger and Daniel Seiple who presented themselves as Germans. A close look at Daniel Seiple reveals his distinctly Jewish physiognomy. As hard as I looked, I have not found any additional output of the E-Team than this photograph where they flick the lights on the tower. This is not very "artistic".
What does E-Team stand for? Well, given what happened to precisely the floors they occupied, obviously it was explosives team. Ironically President Donald Trump would later claim, on the very day of 9/11 and the days after it, that there were explosives planted in the towers exactly where these "artists" stood.
Gelatin, on the other hand were supposedly on the exact same floor as E-Team, the 91st floor, just above the floors that exploded, of WTC1. Yet, as many have pointed out, some floors of WTC2 were entirely unoccupied when the E-Team photograph was taken and precisely these floor had a similar explosion.
In terms of a name, you don't even have to be creative to think of a connection between Gelatin and explosives, because Gelatin IS the name of an explosive, aka blasting agent, aka gelatin dynamite, aka gelignite, aka jelly. That this was a coincidence is ridiculous.
But believe it or not, what you're about to read will make this famous observation seem mundane.
Without further delay, let's open up Gelatin's B-Thing, brace yourselves. It is one of the most evil documents I have ever handled, and I've read extremely evil documents in my time. Like the types of hints a murderer leaves behind (e.g. the Zodiac killer), but the subject of this murder was the entire world we used to know.
/2
3
Obtaining Gelatin's B-Thing is not cheap today. These days it goes for any price between $500 and $2000 depending on its conditions.*
The book contains photographs, notes and sketches, all of which tell a story, supposedly about a bunch of artists, who wanted to build a balcony on the WTC. Yes, you read that correctly, a balcony on a skyscraper which involved:
1. Removing a window panel.
2. Installing a wooden balcony with a pulley system.
3. Taking photos from the balcony.
4. Being photographed by a helicopter.
This is what this book and work appears to be about on the surface, which is deranged and nonsensical. But if you understand what truly happened on 9/11, the rest of the book, the notes, and the way it was depicted, tell story of psychopathic nuclear terrorist ready to destroy the world with this event being a means of capturing a forged moment from a unique perspective.
Indeed, it is this work, and the balcony or helicopter perspective, that enabled the capture of the "hanging man"... as we will see next.
/3
[* If you buy one, please let me know as scans of certain pages are of poor quality. I prefer not to buy one electronically though and you probably shouldn't. Use cash.]
The book contains photographs, notes and sketches, all of which tell a story, supposedly about a bunch of artists, who wanted to build a balcony on the WTC. Yes, you read that correctly, a balcony on a skyscraper which involved:
1. Removing a window panel.
2. Installing a wooden balcony with a pulley system.
3. Taking photos from the balcony.
4. Being photographed by a helicopter.
This is what this book and work appears to be about on the surface, which is deranged and nonsensical. But if you understand what truly happened on 9/11, the rest of the book, the notes, and the way it was depicted, tell story of psychopathic nuclear terrorist ready to destroy the world with this event being a means of capturing a forged moment from a unique perspective.
Indeed, it is this work, and the balcony or helicopter perspective, that enabled the capture of the "hanging man"... as we will see next.
/3
[* If you buy one, please let me know as scans of certain pages are of poor quality. I prefer not to buy one electronically though and you probably shouldn't. Use cash.]
4
In the B-Thing, a somewhat crude and inartistic drawings of a balcony was presented, along with a helicopter photograph (quite distant) from said balcony.
Later, they would release a documentary of the helicopter flight. The balcony itself supposedly faced the city, but a photograph of the view was also depicted.
It's important to note, that in this book and their documentary:
* Gelatin actually shared a photo of the installation meaning it was real (and likely authorised). This was debated until the release of their book.
* They were able to remove the glass to take photos from one WTC, potentially of another.
What's the point of this observation? Taking a photo with glass in front of you, especially in the morning where the sun is low and can cast glare, is impractical. I know this because I own an apartment in a very tall building and I enjoy photography.
There's another thing that glass constrains: your perspective. You can only take photos that are straight on. If you go at an angle, the aberration in the glass will spoil the shot. This may not appear to be a big deal with digital cameras, but you must remember something:
This was 2001. Digital cameras were somewhat pathetic and would only really hit their stride around 2003. Every professional shot was taken by FILM. Every professional shot was taken with a SLR camera. Every professional shot had to have some deliberation. We did not have iPhones on us at all times. A person with a camera was rare. They would have to be there with the deliberate aim to document something.
This severely restricts the conditions upon which a photograph can be taken. To make matters worse, these cameras were for still shots. The ISO on the film varied from 100 to 400. The shutter speed in an urban area where buildings cast shadows on each other would have restricted motion in shots. In any case moving shots needed a special sport camera that was even rarer than a regular SLR.
Another important thing to understand is the majority of people didn't interact with cameras very much. They loved their photograph being taken with family, but it was a rare occasion and they didn't understand anything about depth of field, exposure and so on. So, when something practically impossible came their way, they have absolute no way of detecting it. They weren't media makers.
Almost everyone on 9/11 were media consumers, completely gullible. If you wanted to plant something in their mind, all you had to do was show them a picture. Even the word "composition" evaded them.
/4
Later, they would release a documentary of the helicopter flight. The balcony itself supposedly faced the city, but a photograph of the view was also depicted.
It's important to note, that in this book and their documentary:
* Gelatin actually shared a photo of the installation meaning it was real (and likely authorised). This was debated until the release of their book.
* They were able to remove the glass to take photos from one WTC, potentially of another.
What's the point of this observation? Taking a photo with glass in front of you, especially in the morning where the sun is low and can cast glare, is impractical. I know this because I own an apartment in a very tall building and I enjoy photography.
There's another thing that glass constrains: your perspective. You can only take photos that are straight on. If you go at an angle, the aberration in the glass will spoil the shot. This may not appear to be a big deal with digital cameras, but you must remember something:
This was 2001. Digital cameras were somewhat pathetic and would only really hit their stride around 2003. Every professional shot was taken by FILM. Every professional shot was taken with a SLR camera. Every professional shot had to have some deliberation. We did not have iPhones on us at all times. A person with a camera was rare. They would have to be there with the deliberate aim to document something.
This severely restricts the conditions upon which a photograph can be taken. To make matters worse, these cameras were for still shots. The ISO on the film varied from 100 to 400. The shutter speed in an urban area where buildings cast shadows on each other would have restricted motion in shots. In any case moving shots needed a special sport camera that was even rarer than a regular SLR.
Another important thing to understand is the majority of people didn't interact with cameras very much. They loved their photograph being taken with family, but it was a rare occasion and they didn't understand anything about depth of field, exposure and so on. So, when something practically impossible came their way, they have absolute no way of detecting it. They weren't media makers.
Almost everyone on 9/11 were media consumers, completely gullible. If you wanted to plant something in their mind, all you had to do was show them a picture. Even the word "composition" evaded them.
/4
5
Let's return to the hanging man photo, or the "falling man". If you're young and/or desensitised you may not know it but for most Americans, this photograph (and man) represented everyone who died in the towers on 9/11. People signed up to fight against Afghanistan and then Iraq over this photograph. They even made an entire movie about this photograph in 2006.
The alleged photographer, Robert Dew from the associated press, supposedly took this photo from the ground level. Keep this in mind, let's call this the null hypothesis for fun. Regardless, I want you to think about this photo objectively with me, I am certain you will quickly come to the same conclusion as I did and things will connect for you.
Please carefully observe where the focus of the photo is. You're going to say the man of course. But that's not quite true. The building behind him is in focus as well. How could that be? In order to get both in focus, you would need to greatly reduce the aperture in order to minimise the depth of field. Alternatively, you need a bright source, but there was supposedly smoke everywhere right? Where is that smoke by the way? This photograph was supposedly taken at 9:41 AM. The tower disappeared by 9:59 AM, there was a lot of smoke in between those times.
Well, you will tell me that the photograph was indeed taken from ground level, so at that distance the depth of field will contain both. But therein lies a contradiction. Photograph any building from ground level and you will get key-stoning -- convergence of the verticals. To overcome this, photographers typically use a tilt-shift lens, which is rare and gives you a surreal perspective (not seen here). Not something someone on 9/11 would capture.
Yet check the vertical lines of the WTC and you will observe that without exception the vertical lines are within half a degree of each other. There is no hint of keystoning. It gets worse. The actual error in tilt of this photograph is 1 degree. You can measure it yourself to confirm. This means that the building itself was the object of focus and alignment. 1 degree on analog film is pretty damn good (you don't get to review and retry).
But we don't even need to argue about the perspective, because of this: how do you catch someone in focus, with this depth field and presumably a high level of zoom on analog film, when they are falling from a building at terminal velocity? That is, without any motion blur, and with both the subject and background in focus.
The chance that this photograph was taken, from the ground, without keystoning, without motion blur, without some angle on the building as the photographer does his best to get the falling man in focus and anticipate his motion at an angle, is impossible.
To get this level of vertical parallelism, you have to be horizontal to the building. Furthermore, you need to take this in the earliest morning to avoid glare from the metal exoskeleton of the building -- I'm not even going to entertain the smoke.
This can only be done from two perspectives.
Either from a helicopter.
Or, by removing a glass panel from the WTC and taking a photo of the OTHER world trade centre.
This forces us to conclude that this photo was pre-prepared and the best candidates of those who took were Gelatin themselves. This was the purpose of the balcony and helicopter due.
And what about the man? They weren't in the photo but had to be composed on top of it. You'd think at least they'd flap his jacket around right? Or make him blurred? But alas, the Neanderthals have some kind of difficulty with these kind of physical reasoning and this will be ultimately their down fall.
By the way. Did you know that this man's identity is unknown? That's right, despite him clearly and identifiably clothed and placed here, no one has come forward to conclusively claim his identity. Who is this man? We may never know, but one thing is for sure: He wasn't there on 9/11, and the 9/11 smoke wasn't there with him either.
/5
The alleged photographer, Robert Dew from the associated press, supposedly took this photo from the ground level. Keep this in mind, let's call this the null hypothesis for fun. Regardless, I want you to think about this photo objectively with me, I am certain you will quickly come to the same conclusion as I did and things will connect for you.
Please carefully observe where the focus of the photo is. You're going to say the man of course. But that's not quite true. The building behind him is in focus as well. How could that be? In order to get both in focus, you would need to greatly reduce the aperture in order to minimise the depth of field. Alternatively, you need a bright source, but there was supposedly smoke everywhere right? Where is that smoke by the way? This photograph was supposedly taken at 9:41 AM. The tower disappeared by 9:59 AM, there was a lot of smoke in between those times.
Well, you will tell me that the photograph was indeed taken from ground level, so at that distance the depth of field will contain both. But therein lies a contradiction. Photograph any building from ground level and you will get key-stoning -- convergence of the verticals. To overcome this, photographers typically use a tilt-shift lens, which is rare and gives you a surreal perspective (not seen here). Not something someone on 9/11 would capture.
Yet check the vertical lines of the WTC and you will observe that without exception the vertical lines are within half a degree of each other. There is no hint of keystoning. It gets worse. The actual error in tilt of this photograph is 1 degree. You can measure it yourself to confirm. This means that the building itself was the object of focus and alignment. 1 degree on analog film is pretty damn good (you don't get to review and retry).
But we don't even need to argue about the perspective, because of this: how do you catch someone in focus, with this depth field and presumably a high level of zoom on analog film, when they are falling from a building at terminal velocity? That is, without any motion blur, and with both the subject and background in focus.
The chance that this photograph was taken, from the ground, without keystoning, without motion blur, without some angle on the building as the photographer does his best to get the falling man in focus and anticipate his motion at an angle, is impossible.
To get this level of vertical parallelism, you have to be horizontal to the building. Furthermore, you need to take this in the earliest morning to avoid glare from the metal exoskeleton of the building -- I'm not even going to entertain the smoke.
This can only be done from two perspectives.
Either from a helicopter.
Or, by removing a glass panel from the WTC and taking a photo of the OTHER world trade centre.
This forces us to conclude that this photo was pre-prepared and the best candidates of those who took were Gelatin themselves. This was the purpose of the balcony and helicopter due.
And what about the man? They weren't in the photo but had to be composed on top of it. You'd think at least they'd flap his jacket around right? Or make him blurred? But alas, the Neanderthals have some kind of difficulty with these kind of physical reasoning and this will be ultimately their down fall.
By the way. Did you know that this man's identity is unknown? That's right, despite him clearly and identifiably clothed and placed here, no one has come forward to conclusively claim his identity. Who is this man? We may never know, but one thing is for sure: He wasn't there on 9/11, and the 9/11 smoke wasn't there with him either.
/5
6
Put aside the hanging man photo, let us focus our attention on Gelatin's book. The book has a neat floor plan of the 91st floor configuration at the beginning, drawn in blue ballpoint pen.
It also contains a log and timing of each event, in an entirely different color.
This will be the last of the "neat" diagrams in this book. The rest become frighteningly twisted and nonsensical, implying context the reader doesn't have.
The sketch of the balcony is deranged. None of this is particularly incriminating. They were "artists" right? So surely, they're just a little crazy.
Well, these sketches are where the normality ends, and the two most incriminating sketches begin.
/6
It also contains a log and timing of each event, in an entirely different color.
This will be the last of the "neat" diagrams in this book. The rest become frighteningly twisted and nonsensical, implying context the reader doesn't have.
The sketch of the balcony is deranged. None of this is particularly incriminating. They were "artists" right? So surely, they're just a little crazy.
Well, these sketches are where the normality ends, and the two most incriminating sketches begin.
/6
7
The incriminating part is the next sketch, which will make no sense, until you consider the means by which the towers were brought down.
Please read this thread to see that the towers were pulverised from below:
/7A
Please read this thread to see that the towers were pulverised from below:
/7A
Korobochka (コロボ) 🇦🇺✝️🇷🇺@cirnosad
It has been exactly 23 years since the terrorist attack on 9/11. On that day one event seemed like magic:
How did the WTC towers vanish into thin air? Like a cigarette butt! 🚬
This question will make you RETHINK reality!
Forget jet fuel & steel beams. Think PULVERIZATION!
/🧵
How did the WTC towers vanish into thin air? Like a cigarette butt! 🚬
This question will make you RETHINK reality!
Forget jet fuel & steel beams. Think PULVERIZATION!
/🧵
8
This is the sketch Gelatin says the WTC was "very amazing outside" and very "depressing inside".
They give a definition of amaze: To surprise, to astonish greatly: fill with wonder.
The building is depicted in a solid manner at first. Gelatin claims they want to "brake thru to the amazement from inside". Break through the building from the inside indeed, as we saw explosions on 9/11 appear to come from inside the building outwards.
Then the most troubling part of this sketch appears: "deeppression inside -> amazement outside". Why the change in spelling? Are they just ret*rded or does it allude to the word deep, perhaps compression? I'll leave you to ponder.
This troubling part of the sketch is labelled as an architectural analysis sketch and it depicts the pulverization of the world trade centre, breaking apart and crumbling in all directions.
And in the next sketch, the most chilling in the book and of which only a poor scan exists, they lay out exactly from where the WTC was pulverized.
/7B
They give a definition of amaze: To surprise, to astonish greatly: fill with wonder.
The building is depicted in a solid manner at first. Gelatin claims they want to "brake thru to the amazement from inside". Break through the building from the inside indeed, as we saw explosions on 9/11 appear to come from inside the building outwards.
Then the most troubling part of this sketch appears: "deeppression inside -> amazement outside". Why the change in spelling? Are they just ret*rded or does it allude to the word deep, perhaps compression? I'll leave you to ponder.
This troubling part of the sketch is labelled as an architectural analysis sketch and it depicts the pulverization of the world trade centre, breaking apart and crumbling in all directions.
And in the next sketch, the most chilling in the book and of which only a poor scan exists, they lay out exactly from where the WTC was pulverized.
/7B
9
The next sketch depicts a vertical slice of the 9/11 event. It begins in the sky with a satellite labelled "funnies on satellite TV", going down there's an airplane right above the WTC with a distance labelled "last chance to open a parachute".
The 20 minute balcony, near where the first "airplane" allegedly struck the tower, is depicted as a gaping hole in the building. Just below, a "most popular suicide height" is labelled which is quite gruesome given the previous sketch and the hanging man.
But the sketch doesn't end above ground. It goes underground. Below the ground there is a small box or capsule (a Karabochka if you will) labelled "deepest thought Dr. Freud ever had", with a level labelled "hidden military action". Just below that, a "hole to escape shame".
These labels may seem nonsensical, but if you've already figured out what happened on 9/11 and you encountered them, as I did when I first read the B-Thing, you will be filled with nothing but a chill down your spine. Like you've finally found one of the people who knew and were involved in making this satanic ritual happen.
Indeed, there was a service and access tunnel underneath the two towers, and it connected WTC1, WTC2 and WTC7, together. All of these towers went down and in a very particular order too.
And indeed, what brought down the tower wasn't the alleged planes, but something planted in the basement, that witnesses have reported caused a mighty explosion.
/7C
[NOTE: If you have a better scan of this page, please do share it.]
The 20 minute balcony, near where the first "airplane" allegedly struck the tower, is depicted as a gaping hole in the building. Just below, a "most popular suicide height" is labelled which is quite gruesome given the previous sketch and the hanging man.
But the sketch doesn't end above ground. It goes underground. Below the ground there is a small box or capsule (a Karabochka if you will) labelled "deepest thought Dr. Freud ever had", with a level labelled "hidden military action". Just below that, a "hole to escape shame".
These labels may seem nonsensical, but if you've already figured out what happened on 9/11 and you encountered them, as I did when I first read the B-Thing, you will be filled with nothing but a chill down your spine. Like you've finally found one of the people who knew and were involved in making this satanic ritual happen.
Indeed, there was a service and access tunnel underneath the two towers, and it connected WTC1, WTC2 and WTC7, together. All of these towers went down and in a very particular order too.
And indeed, what brought down the tower wasn't the alleged planes, but something planted in the basement, that witnesses have reported caused a mighty explosion.
/7C
[NOTE: If you have a better scan of this page, please do share it.]
