David Wilcock: All right. Welcome back to “Cosmic Disclosure”. I'm your host, David Wilcock. I'm here with Corey Goode. So, Corey, welcome back to the show.

Corey Goode: Thank you.

David: We're going to start out now with the first of a series of inte

So without further ado, let's take a look.


Mark McCandlish: I get a phone call from a friend of mine that I'd known in college. For the sake of this conversation, I'll call him Brad.

So Brad calls up, and he says, “You know, I saw your article. I saw your art work, saw your name in the magazine, got a hold of the art director. He gave me your number, and this is Brad. Do you remember me?”

And I said, “Yeah. That's great.”

So we got together for lunch. We were talking, and I mentioned to him that there was an air show coming up at Norton Air Force Base, which is in San Bernardino. It's about 75 miles east of Los Angeles.

And there was a story that they might have the SR-71 Blackbird either do a flyby or that it might be on static display, which was kind of rare back then.

So we decide we were going to go to the air show. And at the last minute, the magazine called up and indicated that they were so happy with that illustration that they wanted me to do another illustration that was going to be coming out the following year in February of '89, on the X-31 program.

So they wanted it completed as a quick turnaround, and so I basically had to pass on going to the air show.

So about a week goes by, and I didn't hear anything from Brad. And I called him up, and I asked him, “Well, how did you like the air show?” But on the phone, he was very quiet.

And I said, “Well, what's wrong? You don't sound like you had a very good time at all.”

He said, “Well, I think I saw some things I wasn't supposed to see.”

And I said, “Well, how can that be? Everything that's at the air show is put there for static display for the public.”

And he says, “Well, there was another little show that happened while we were there.”

And in the beginning of this story, when this first came to me, he made it sound as though the exhibit that he was allowed to go into, the person that he had brought along, someone that we were going to network some illustration jobs for, was a high-ranking person at Lockheed Martin, and that they were going to . . . we were going to get together and talk about doing some work.

And this individual, right about the time the Thunderbird, the Air Force demonstration team, was about to start their program, he says to my friend, “Let's go over here.”

So this gentleman, my friend, a number of high-ranking politicians and high-ranking military brass, all boarded a Boeing 727, military airliner – military aircraft with passenger seats and so forth. And they departed from Norton and flew up to Air Force Plant 42, which is in Palmdale. That's where Lockheed Skunk Works is located.

So the plane rolls out. They get out of the plane, and the security detail that was around the building with a cordon and M16s, and the whole nine yards, challenged my friend because he didn't have any kind of a badge or anything like his escort did.

And so his escort essentially vouched for him, saying that he was this gentleman's aide.

So they go into the show, and as soon as they walk in, he looks around and he says, “Okay. I can see that there's some things here that I wasn't told about, things that you're not cleared to know about. So just keep your mouth shut. Don't say anything. Don't talk to anybody. We'll get out of here as soon as we can., but enjoy the show.”

So Brad indicated to me that there were high-ranking Air Force officers that were walking around like tour guides, and they were showing the various aircraft types that were on display, one of which was the first generation Aurora aircraft, what the Lockheed folks called the Pulser.

And so they had four engines that were buried in the airframe. The entire thing was covered with heat-ablative tiles, just like the Space Shuttle.

The back end of the aircraft was being used in the same way as . . . very much like the entire back end of the aircraft was like a linear aerospike engine with dozens of these fuel ejectors that would spray fuel into this supersonic shock wave and would spontaneously combust.

And the explosion of these gases would expand between the supersonic shock wave and the tapered afterbody of the aircraft and essentially pinch it – just like squeezing a wet pumpkin seed and having it shoot away out of your hands.

But the interesting thing about this particular aircraft type was that it obviously had some strategic applications, that it wasn't just for high-speed, high-altitude reconnaissance.

This was an aircraft that had weapons. And underneath the fuselage, buried in the fuselage between the engines, were 121 vertical launch tubes, each of which had a large circular heat-ablative tile on the outside that could be blown away with explosive bolts

And what was so fascinating about this design was they kept it as simple as possible, but it was totally effective.

And they had what amounted to . . . that you could use either conventional explosive-type warhead, but they were in re-entry vehicles like the MIRVs that you see on an ICBM, except that above this MIRV in the tube, they had another heat-ablative tile with a big coiled spring behind it, all compressed.

And so as soon as they blew away the outer tile, this thing would be spit out of the tube. Another tile would come down, slam into place, and immediately restore the aerodynamic efficiency of the aircraft.

So you didn't have bomb bay doors and this kind of thing opening up when you're going at high speed.

Another one of the things that I found from recent disclosures was that when the aircraft was actually in the active functioning as a weapons platform, that it had a tertiary, a third type, of propulsion system where the back end, which was kind of flat but triangular shaped, it would open up.

It was like a clam shell on the back end, and a rocket motor would pop out, and this thing could then climb up into an exo-atmospheric launch position and loiter almost indefinitely.

This was probably one of the largest remotely-operated vehicles that's ever been in the inventory. But it did have a provision for being piloted by someone internally. But mostly, it was an unmanned aircraft.

But it could go up, and it could deploy these MIRV-type weapons from space.

David: Well, for me, Corey, as an outsider who has not been in these circuits, when somebody comes forward and has this much technical detail, I'm extremely, extremely fascinated.

I've heard about the Aurora for so many years. Never have I heard the kind of detail that he just gave here.

What are your own thoughts in light of what we just saw?

Corey: Yeah, it's the amount of detail. That's what I was going to comment on.

The people that come out and talk about these things have normally just had a glimpse of them. They haven't had someone that was able to walk around and kick the tires and have a tour from Air Force personnel.

So this is very good insight on the way this craft works.

David: I had heard about the Aurora making this very loud jackhammer type of noise as it traveled.

Corey: They left what they called, what, “donut contrails”?

David: Right. But never have I gotten anywhere near that type of technical detail about it.

What do you feel this kind of a craft, the Aurora, which apparently is one of the more classic designs, even all the way back to the '80s and so forth . . . What might the Aurora be used for?

Corey: Back in that day, all high-altitude craft were usually exclusively either for a reconnaissance or for delivering . . . as weapons platforms.

And a lot of times, they can have technology switched out on them, and they can be either/or.

David: Are you saying, then, that the Aurora might have been used in conventional warfare, just that the people who get hit by those bombs don't know where they came from?

Corey: It's possible that it was used in conventional warfare, but it sounds like that was saved for . . . it was in the inventory for a special event, like if there was a conflict with the Soviet Union.

David: All right. We're now going to get into actual blueprint illustrations that he gave from insider testimony of the Alien Reproduction Vehicle, or ARV, which seems to be an exact duplicate of the original German Bell Craft. Let's take a look.


Mark McCandlish: There was also a separate display that was presented after all of the people, the attendees of this exhibit, showed up.

They brought back the curtains, and there were here the three flying saucers, what eventually became known as the Alien Reproduction Vehicle or Fluxliner – ARV for short.

And that's when I began to understand that there were some really wild and advanced systems that were under development.

Not only were they on display, but these craft were hovering off the floor. There were no landing gear underneath, no cable suspending them from the ceiling.

The smallest one was approximately 24 feet in diameter. The next one up was 60 feet in diameter, and the largest of the three was approximately 120 feet in diameter.

The interesting thing about that particular part of the exhibit was that Brad commented that these aircraft looked like they'd been around for a very long time. And this was in 1988 – November 12, 1988.

And he said that there were a number of panels around the perimeter of the fuselage, flat on the bottom, sloping sides at about a 35° - a little bit of a ledge around what appeared to be a crew compartment, and then a dome.

And on the top of the dome were these little clear blisters with a little . . . like a CCD-type camera in each one on a little gimbal that would move it around and point it and this kind of thing.

And this, again, was another use of something like a synthetic vision system, where two of the cameras could be slewed together in pairs to create a left eye and right eye view so that the pilot wearing a special helmet inside could have a completely three-dimensional view.

And what eventually became obvious was that the system was using an unusual technology to create electrical power, drawing it right out of the vacuum of space-time called scalar energy or zero-point energy.

But when this thing was powered up, it would create such a tremendous amount of ionization around the craft that the air molecules would actually begin producing X-ray photons, which are lethal.

And so you couldn't have windows in this thing. You actually had to have some kind of a synthetic vision system to be able to pilot this thing.

But getting back to his description of the craft, he was saying that the entire thing looked like it was covered with what looked like a resin-based paint that had little flecks of metal embedded in the resin that had been just slapped onto the sides of the aircraft.

There were chips and cracks and things around the Dzus fasteners that held these panels around the perimeter of the fuselage, you know, greasy handprints and this kind of thing.

And so he said it looked like it had been around for a very long time.

David: There's a lot of specifics in terms of what he's saying here, one of which was that ionization is forming around the craft when it's powered because of how much electrical charge it has, and that it actually releases X-ray photons, which are so deadly that there can't be windows in the craft.

Now, I was under the impression from some of the illustrations you commissioned before of the Maria Oršić and the craft that she came out of that they did have porthole windows in the craft.

So do you think maybe there was an innovation that allowed those windows to block X-rays, perhaps?

Corey: Yeah. A lot of the craft do have windows in them, especially back during the time that the Nazis were developing it.

And they didn't have the cameras, I don't believe, set up. They may have. I can't remember. There were . . . actually, some of the images, there were what he called blisters, the clear, see-through hemispheres that pop out that cameras go inside of.

I've seen some of those on some of the craft, but I don't recall that they were using cameras for visual reference.

David: Just so that we're absolutely clear, how close is this description that he's giving to your understanding of the original German Die Glocke-based craft?

Corey: From what I understood, the ARVs were hand-me-downs from the Germans, and they were calling them ARVs, or Alien Reproduction Vehicles, as a way to throw people off of where they came from.

David: Where did they come from?

Corey: The Germans, during the exchange after 1952, when the breakaway Germans started working closer with our military-industrial complex.

David: Why would the craft be able to ambiently float if it's not actually running? Or is it in some sort of hovering state to keep it hovering like that?

Corey: They use anti-gravitic propulsion, so it can be put in, basically, a neutral state and locked into one place.

David: All right. There's a lot to talk about here, so let's keep the party going. We're going to have more from Mark McCandlish on this amazing observation and the illustrations that resulted. Let's take a look.


Mark McCandlish: As a draftsman, someone with my experience in conceptual art, one of the ways that I was able to figure out how all these components related together – a number of the panels had been taken off of the vehicle – the smallest one.

They had a rolling staircase that came up next to it with kind of a platform that rolled underneath the vehicle, and then the stairs that went up on the sloping side. And you could actually stand on a little platform and look through the cockpit door.

And what's so funny is that the door itself looked like something off of an old Captain Nemo submarine with the steel frame and the wheel you would turn and little pins that would go on the frame to lock it into position and everything.

But he said you could look inside, and you could see the ejection seats.

The central column that runs down through the middle of this crew compartment, which is really just a large composite sphere. It's what they call a pultruded vessel.

Pultrusion is a process where you take a filament like fiberglass or carbon or Kevlar, and you impregnate it with a resin as it's being spun around an armature, a shape, a vessel.

They make oxygen tanks out of this kind of thing now, but this entire sphere was one large pultruded sphere. And the whole thing . . . The idea is that while this resin-impregnated fiber is being wrapped around this shape, it's under high tension, so the entire structure is pre-stressed before the resin kicks off, is catalyzed, and hardens and becomes very strong – stronger than steel.

And so these things could actually go into the ocean, too, which is another whole story.

But the view of the cockpit revealed that it was really spartan inside, I mean, no instrument panel, no gauges, no kind of telemetry. Everything was in the headset that the pilot wore.

On the right side of the ejection seat for the pilot was like a big potentiometer, like something from the “Frankenstein” movie, where you control the amount of electricity.

And on the left side was a really unusual type of control. It was a stand. It looked like a metal or a composite – sort of like an inverted J-shaped post that supported what looked like a ball that had a conformal hemisphere on the bottom side of it.

And this thing had a laser inside that would be reflected around. And it would send impulses to the different parts of the aircraft that controlled the yaw and the pitch and this kind of thing.

What was interesting was that when this thing was operating at low power and just hovering by itself, that as the vehicle would begin . . . I mean, because they looked like they were setting on the ocean, just moving around like over the currents in the water, and when it would begin to tilt a little bit to one side, the bowl that was hanging down on the underside of the sphere would begin to tilt in that direction.

The gravity had just enough influence on it that it would begin to lean it, and it would correct itself. It was self-correcting, no matter what direction it began to lean in.

The thing was able to accomplish things like traveling faster than the speed of light – superluminal speeds. “Light speed or better” was the quote from the general who was giving the presentation.

And so the question becomes how is that even possible? A lot of people think that it's just hogwash, that it's not possible.

And you have to go back, and you have to look at Einstein, his original equations, and all the things that he said about the utter impossibility of ever exceeding the speed of light.

And what he said was, in his equations and in his writings, was that as an object is accelerating through space-time, that its mass begins to increase.

But the key to that whole thing, the thing that nobody talks about, is the reason that the mass of a vehicle increases is because the interaction that the atomic structure of that vehicle has with the zero-point energy in the environment, it basically causes the atoms to become more energized.

Because back in high school physics, the big question I had was, well, if matter can't be created, can't be destroyed, the electrons never slow down, they don't follow the second law of thermodynamics, which is entropy, you'd expect them to slow down over time, but they don't.

And the reason they don't is because they're constantly absorbing this zero-point energy. And that's what keeps all the parts of the atom going all the time. That's why it never disintegrates, falls apart.

And so as an object, you know, made of atoms, goes through space-time and is accelerating faster or faster, it's absorbing more and more of this energy, and all the parts are spinning faster and faster like a gyroscope that gets spinning faster and faster.

And just like a gyroscope, if you've ever held one – like a spinning top or something – once they get going really fast, it's hard to move them around. It's the same. It's kind of like it's developing its own kind of gravity, in a way.

And so this is what Einstein said would slow things down and make it impossible to ever have enough energy to go up to and exceed the speed of light, because you're mass literally begins to approach infinity as you get closer and closer to the speed of light.

And so what the engineers figured out was that if you used that same energy in the environment that would increase your mass, but you used it as a propulsive energy source to power your system, it means that the faster you go, the more energy you have to propel your craft even faster. You don't have to carry a fuel supply, so you don't have to worry about the weight of the vehicle.

So the faster you go, the faster you're able to go. And that's how you actually break the light-speed barrier, because your mass never really becomes anything greater than what you started out with. But you have this tremendous, almost limitless, amount of energy that you can draw from as a propulsive force.

This is probably why all the electrical components in the craft are embedded in quartz as a kind of insulator, because we're talking about millions and millions of volts of electricity.

That's also why when it's in the atmosphere, the ionization is so severe that it produces X-ray photons, and they have to have a synthetic vision system just to see where they're going.


Quelle: http://www.spherebeingalliance.com/blog/transcript-cosmic-disclosure-faster-than-light-technology-with-mark-mccandlish.html
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