Solving The Texas Airship Mystery

In 1897, people in western United States began seeing airships in the night skies. Despite abundant reports of sightings from California to Michigan, little explanatory information was given to the public. Speculation arose that the United States government had started a secret flight program or that life from another world had contacted Earth. The implications of each conjecture were staggering, pointing to a major governmental or scientific cover-up that wouldchange the course of history.While this book focuses on the sightings in Texas, it takes into account all of the reports filed. After addressing previous theories of what the airships were and where they came from, Solving the 1897 Airship Mystery puts forth a new analysis, using detailed accounts from period newspapers and other documents left behind. By writing in chronological order, Michael Busby traces the course of the flights that led to the mystery. Included are numerous appendixes, figures, and tables that present the information in an easy-to-handle format.

Wallace O. Chariton explores the great Texas airship adventure from beginning to end and retells the story exactly as it unfolded in 1897.

In November of 1896 residents of California watched a mysterious bright light-often described as being suspended beneath a "cigar shaped" craft of considerable size-pass slowly over their cities on several occasions, sparking a media frenzy. A few months later, what appeared to be the same craft was seen in the skies over the sparsely populated prairie states of the Midwest making its way methodically eastward and appearing to literally hundreds-if not thousands-of witnesses. Then, as suddenly as the reports began, they abruptly ended, leaving a mystery that has never been satisfactorily explained by either science or historians to this day. Was it evidence of a nascent technology, appearing a full decade before Von Zeppelin began building the first of his behemoths in Germany, or was it all merely a media hoax generated by the yellow journalism of the time in an effort to increase sales? Or, most provocative of all, was it a visitor from outer space, making an early appearance? Each theory is examined in turn before J. Allan Danelek finally presents his provocative theory that the mysterious vessel was a terrestrial craft years ahead of its time that may have been destroyed just as it was on the verge of being publicly acknowledged. Admittedly controversial, the hypothesis leaves it for the reader to decide for themselves whether the history of aviation is complete as we know it or if it's merely waiting for the final chapter to be written.

This ninth volume of the Artefacts series explores how artists have responded to developments in science and technology, past and present. Rather than limiting the discussion to art alone, editors Anne Collins Goodyear and Margaret Weitekamp also asked contributors to consider aesthetics: the scholarly consideration of sensory responses to cultural objects. When considered as aesthetic objects, how do scientific instruments or technological innovations reflect and embody culturally grounded assessments about appearance, feel, and use? And when these objects become museum artifacts, what aesthetic factors affect their exhibition? Contributors found answers in the material objects themselves. This volume reconsiders how science, technology, art, and aesthetics impact one another.

Oxford-educated historian Joseph P. Farrell really delivers in this latest addition to his best-selling book series on suppressed technology, Nazi survival and postwar hidden conflicts. His customary meticulous research and sharp analysis blow the lid off of a worldwide web of nefarious financial and technological control few people even suspect exists. Farrell delves into the creation of a breakaway civilization by the Nazis in South America and other parts of the world. He discusses the advanced technology that they took with them at the “end” of World War II and the psychological war that they waged for decades against America and NATO. He shows how the breakaway civilization has created a huge system of hidden finance with the involvement of the Vatican Bank (among others), and how NATO established a large covert warfare network and political slush fund. He investigates the secret space programs currently sponsored by the breakaway civilization and the current militaries in control of planet Earth. Farrell includes a fascinating discussion of “emulational” technologies (those that can manipulate acts of god/nature, like earthquakes and storms) from the standpoint of the culture of “full spectrum dominance” and the culture of “plausible deniability”-yes, there are plans for mass destruction that can never be traced back to their real source. Farrell also discusses the historical origin of the breakaway civilization with the continuing airship mystery; incredibly bold counterfeiting operations; and the nexus of spy satellites, nuclear weapons and UFOs. He includes plenty of astounding accounts, documents and speculation on the amazing alternative history of hidden conflicts, secret super-finance and technology.

Folk art is as varied as it is indicative of person and place, informed by innovation and grounded in cultural context. The variety and versatility of 300 American folk artists is captured in this collection of informative and thoroughly engaging essays. American Folk Art: A Regional Reference offers a collection of fascinating essays on the life and work of 300 individual artists. Some of the men and women profiled in these two volumes are well known, while others are important practitioners who have yet to receive the notice they merit. Because many of the artists in both categories have a clear identity with their land and culture, the work is organized by geographical region and includes an essay on each region to help make connections visible. There is also an introductory essay on U.S. folk art as a whole. Those writing about folk art to date tend to view each artist as either traditional or innovative. One of the major contributions of this work is that it demonstrates that folk artists more often exhibit both traits; they are grounded in their cultural context and creative in the way they make work their own. Such insights expand the study of folk art even as they readjust readers' understanding of who folk artists are.