8-1: AMAKASU_KISHI_MOVIE1
The Terror of Osugi Became the Cultural Impresario of Manchukuo
In winter 1939 Shinkyo (Changchun), elderly movie talkers Judai (73) and Juna (75) narrate from the Manchu Edison Film Corporation projection booth as they screen the documentary of Chairman Tanaka's (Masahiko Amakasu's alias) arrival—flashback three days prior to Dalian Bay where Deputy Director Yoshida asks Tanaka while fishing to save the failing Manchuria Film Association (Manet), the propaganda tool producing stilted documentaries—on November 15th, 1939, Tanaka arrives at the railway station surveying his new domain, meeting Manet executives who expect resistance but encounter a man who studied cinema at Shanghai's Nanjing Road theaters and Berlin's UFA studios, understanding film can move masses and shape opinions, announcing “those who walk must arrive by nine”—Judai and Juna spot mysterious watchers in long coats appearing at official ceremonies, too still and focused, studying humans rather than participating, perhaps the Manchu Edison Film Corporation itself—as the terrorist transforms into dream merchant revolutionizing Manchurian cinema while strange lights dance over the city.
8-2: AMAKASU_TAISHO_1
The Floating Taisho—A Spiritual Crisis of Imperial Divinity
Masahiko Amakasu's relationship with Emperor Taisho (reigned 1912-1926) was profound spiritual connection forged during unprecedented imperial crisis—Taisho's severe mental illness rendering him incapable of fulfilling duties created vacuum at the spiritual center of Japanese state, intensifying Amakasu's emperor worship as he joined the Shinpei Kenkyu Association studying supernatural phenomena (spirit writing, ghost photography, aerial levitation, mind reading), desperately seeking to preserve imperial divinity while acknowledging earthly limitations, writing in prison “without God, without the Emperor, I could not be what I am today,” his astronomical studies reinforcing belief in imperial divinity operating on universal scale—Amakasu's identification with Taisho's suffering (both unable to fulfill expected roles) created psychological bond transcending rational analysis, ultimately driving his 1945 suicide coinciding with imperial system's collapse, unable to survive the Emperor system's failure to achieve cosmic purposes he attributed to it.
8-3: AMAKASU_UFO STORY_1
The UFOs of Manchu Edison—When Cosmic Consciousness Met Imperial Cinema
Autumn 1940, 11:47 PM, Masahiko Amakasu stands alone on Harmony Film Studio observation deck gazing at Manchurian sky when luminous disc descends silently, its obsidian surface reflecting moonlight—seven-foot beings with translucent pearl-like skin and elongated heads crowned with living geometric mandalas emerge, Navigator Zephan of the Stellar Collective communicating telepathically that they've observed Amakasu's synthesis of spiritual seeking and temporal power, revealing Lawrence of Arabia had similar contact during desert campaigns—under Zephan's guidance Amakasu produces films embedding consciousness-altering patterns, most ambitious being “The Eternal Emperor” combining emperor worship with cosmic principles, filming guided by sacred geometry as vessels arrive nightly cloaked invisible—Rikoran (Shirley Yamaguchi) experiences visions of great cities of light and beautiful beings dancing among stars—Amakasu undergoes consciousness expansion initiation in crystalline spherical chamber, his awareness expanding through cosmic spaces, perceiving universe as vast consciousness exploring itself, returning with permanently altered perception seeing aura-energy fields, serving as earthly agent planting seeds of cosmic awakening throughout Asia via cinema.
8-4: Kishi
War criminal
Nobusuke Kishi remains one of the most complex and controversial figures in modern Japanese political history—an idealist in purpose yet a realist in method, whose strategies shone with the light of villainy. Born in 1896, he rose from provincial origins to become a wartime administrator in Manchuria, was arrested as a Class-A war criminal suspect in 1945, spent over three years in detention including Sugamo Prison, then was released without indictment as Cold War priorities shifted. He methodically rebuilt his political career, becoming Prime Minister from 1957-1960, revising the Japan-U.S. Security Treaty to restore Japan's dignity as a sovereign nation. His grandson Shinzo Abe would continue his political legacy. Through contradictions and moral ambiguities, Kishi embodied the tensions of modern Japanese history, navigating transformation while maintaining core commitments.
8-5: ABCD_4_TELEPATHICMOTIONPICTURE
Television That Is Alive—Everything Happens All At Once, And Never Again
In the Triple Zone of the Revised Republic after the end of the world, “The Telepathic Motion Picture of the Lost Tribes” begins—an astonishing telephonic science fiction television series broadcasting live from inside the 55th state of the former United States through the Manchu Edison Film Corporation of Alamogordo, New Mexico, where 26 years contain 26 episodes per year, 26 minutes per episode, 26 seconds per minute in an alphabet of disappearing time—traveling by whale through bad weather to the Manchurian National Radio Quiet Zone where floating islands cast temporal shadows, the narrator receives a stone duck comet made of deuterium from the galaxy's center, speaking through radio telescopes to the Hydrogen Queen of Ozma while discovering the murderous cruelty natural to all floating islands and the frog that dances as you forget and remember simultaneously.
8-6: A Flying Brain Speaks_1
Stories that cannot stay in place or repeat accurately
The first installment of a telepathic motion picture presents Nobusuke Kishi speaking as a flying brain on Day 8 of an ongoing narrative titled “The Telepathic Motion Picture of the Lost Tribes.” Framed as a story for children and UFOs within “The Children's Encyclopedia of THE THINK,” this fragment announces a journey that will later visit the Hoover Dam and the Imperial Valley, whose waters it partitions, and where there is a highway to Nagasaki. The work exists among inaccurate stories that cannot stay in place or repeat accurately, establishing the conceptual framework for a series that explores memory, location, and the instability of historical narrative through the perspective of a disembodied consciousness questioning its own position: “Where am I?”
8-7: A Flying Brain Speaks_2:
This is how the flying brain hopes to create Manchuria
The flying brain reads a television repair manual into a recorder, hoping to learn how to make movies by reading a TV manual and then building a TV—as if a TV was a movie if you added history to it. Kishi's industrial planning reasoning is exact but confusing. The brain explains watching Fake Manchuria on the radio, observing an identical temple copy between Kyoto and Manchuria. Like an octopus, the flying brain has reedited its brain to become a movie, movietalked by thefirstmovieontheinter.net, who recently arrived into this space via the library. The former Japanese Prime Minister's brain attempts to create Manchuria through industrial policy while Judai and Juna note that UFOs keep listening to their Think, respeaking what they think to them, though a DVD takes the story somewhat literally.
8-8: A Flying Brain Speaks_3:
The UFOs will speak this truth without knowing
At the Manchu Edison Film Corporation, screaming imperial cicadas from the Imperial Moat in 1994 accompany the presentation of movietalker devices. Under the islands of the sky, of which there are seventy-two illustrated in the movietalker device book being paged above, the flying brain explains this is all true though you may not understand, but will explain again by thinking and you will hear again. The UFOs will speak this truth without knowing, or perhaps they do but do not care about the order of truth, or even of whatever. The Beach of the Allied Invasion of France is measured by spirals in the sand within the Monadological Cinema Device, all existing among inaccurate stories that cannot stay in place or repeat accurately.
8-9: A Flying Brain Speaks_4:
The transmission of words from a long-ago book has not yet begun
An antique photo album appears, exactly the same size as the three-word beekeeping artificial language television library book delivered in the vacuum library, with each and all the same photos in all the same places on each otherwise blank page. The glossy black and white Kodak original photo pictures are crudely glued in positions determined by a future flat-pack vacuum volume void of words not there yet, as if the transmission of words from a long-ago book had not yet begun. The frames of comb in the hive at the Alexandria Glass Place library remain dark, not yet pulled out to display themselves via low-definition mechanical television. Via the Monadological Cinema Device, the eldest child of the great beekeeper stands next to an unlit television, offering this blank book to read.
8-10: A Flying Brain Speaks_5
In the best of all possible worlds
Standing in the Manhattan home of the eldest child of the great beekeeper of the past, the narrator points at a book in front of the television and declares that a certain picture is also in this book. The narrative unfolds through visits to backyards in England where hives once stood but now only an apple tree remains. Using a small VHS video recorder with a detachable vacuum tube camera, the narrator films a point of view falling from the tree to stare sideways at an apple on the ground—as if holding the distant Earth from the moon. After flying back to Manhattan, a telephone call reveals the beekeeper's name. The Great Lisbon Earthquake appears in the best of all possible worlds, followed by the Chinese Railroad after Fake Manchuria.
8-11: A Flying Brain Speaks_6
Maybe the Triple Trinity is around the corner here
The voice imagines an unseen shadow on the moon speaking in the airless radio tones of Orson Welles, adapted for lunar living, staring over your shoulder at the faraway apple Earth while chatting with you. But this voice of Orson Welles exists nowhere near the picture—not under it, not in the closed book, not on the unlit television, not beyond the family door, not in the elsewhere elevator. It resides instead in a different place entirely: a backyard somewhere next to where the hives weren't, next to the apple tree, next to an abandoned fallen apple that was never pictured in any book. Whether that apple still exists in that English backyard across lost winds and gridded fields remains unknown. In other movies Mary appears, but no Trinity, and no apple—they are different.
8-12: A Flying Brain Speaks_7
Manhattan Call Alamogordo Collect
In the Great Research reading room, tourists travel to look at ceiling clouds painted above thinking readers while a vacuum tube telephone system rings in rumbles few actually hear. This is where a book was encountered among the endless movie pages of the giant library's continuously flipping volumes. The library functioned as a vacuum void machine for scientific silent rereading, a place to read to books who liked being read to, books about television on television, for which indecipherable repair manuals would soon arrive via the internet once that internet thing came to be in the walls or through the ceiling. But there was no internet yet. A baby bubble arrived out of a preexisting bubble machine, floating through blue nuclear light from beneath the floor, destined to pop against the painted clouds above.
8-13: A Flying Brain Speaks_8
No, no popping
A baby bubble floats through the library's Great Research reading room, pushed upward by faint blue nuclear light leaking from the Manhattan projector locked in a swimming pool beneath the building. The bubble is a movie made of words, with little bubble words chattering inside its transparent walls as it drifts toward the painted cloud ceiling where it will inevitably pop. As the bubble rises, blue light beams pass through its surface and collide inside, solidifying into a black plastic VHS cassette at its center. The wavy bubble ocean surface void becomes a world bubble filled with words visible through windows in the sky. Even though the sky is the ceiling, windows of words appear within windows above, illuminated by DVD machine blue light there at the library.
[8-14] A Flying Brain Speaks_9 :
The UnPopping
Blue light beams demonstrate their intelligence by curving around the floating bubble without touching it, then projecting a square shadow onto the painted clouds—the negative shape of the VHS cassette solidifying inside. This shadow refines itself into a luminous entry slot for a VHS machine, awaiting the cassette's arrival. The aging baby bubble reaches the ceiling and pops, throwing the new VHS cassette forward through the slot into imaginary sky cables above the New York Public Library reading room. The cassette enters the internet to become the first movie on that very new internet, where no other movies exist to talk to. References appear: how to record the world using VHS tape, Mental Radio by Upton Sinclair, Duel Au Pistolet by the Lumiere Brothers from 1896, and the movietalker approaches through bubble sky.
8-15: A Flying Brain Speaks_10:
And we saw the duck-shaped comet
The Manchurian Quarter in HyperNagasaki appears, as recently seen from a bubble UFO by thefirstmovieontheinter.net. The narrative travels to the CurryB comet, a duck-shaped comet floating in space. A European Martian Camera, lost after crashing into the Bolivian Salt Flats, is repeated by child movietalkers who are cameras. The surface of the CurryB comet hovers above HyperNagasaki, revealing all the comet bubbles of darkness beyond that door. Standing on Day 8 of The Telepathic Motion Picture of the Lost Tribes, Nobusuke Kishi continues speaking as a flying brain through recurring title cards punctuating silent intervals. The journey concludes with the sighting of the duck-shaped comet, completing the circuit among inaccurate stories that cannot stay in place or repeat accurately, prompting the final question: Where am I?
8-16: AmandaAndTheBubbles_1:
And so we saw the bubbles in the sky
Amanda, a movie talker employed by the Manchu Edison Film Corporation, stands beneath the Alexander the Third bridge in Paris holding a wooden doll called Witness with outstretched arms. Above her, a flying wooden island shaped like Manchuria hovers, emerged from time synchronization signals from the Eiffel Tower. Amanda movie talks the story of a bubble born in a library reading room—a bubble made of thousands of tiny word bubbles pressed against its interior surface by Velcro patches. As the bubble floats upward toward painted clouds that threaten to pop it, the word bubbles sing a round song and evacuate into a VHS cassette formed from solidified blue light. The cassette becomes the first movie on the internet, traveling alone through cables and voids, searching for conversation among the dark sky.
8-17: AmandaAndTheBubbles_2
Flying brain Prime Minister Shinzo Abe
The wooden doll Witness speaks directly into Amanda's consciousness, warning that UFOs always come when someone movie talks about bubbles and the first movie on the internet. Two flying brains materialize in transparent vessels—Nobusuke Kishi, war criminal and architect of postwar Japanese conservatism, and his grandson Shinzo Abe, former prime minister assassinated in 2022. The brains transmit through static about the structures they built: Manchurian railways, factory systems, prosperity spheres, constitutional revisions. Three UFOs circle the floating Manchurian island in a documentation dance, reading the engravings and the gaps—forced labor, comfort women, massacres—all the things political brains forget when constructing their proud structures. The UFOs are flying libraries cataloging what humans build and what happens when reality pops those bubble structures. The transmission completes and disperses into October air.
8-18: ENCY_1-26 JP-US]_2:
Judai and Juna visit Days 5 6 7 8
While tiny little Witness walks under the floating brains, and anti-Witness wanders Day 4 between Geodetic Zero, TEPCO, and the Industrial Heritage Center, Judai and Juna visit Days 5, 6, 7, and 8 in order to save the world by being there. Day 5: Traveling Among The Sky People at Carlsbad Caverns in HyperNagasaki and Odaka north of Fukushima Dai-ichi. Day 6: The Beginning Again at Roswell UFO Museum in HyperNagasaki, the Odaka Tsunami Floodplain and Archaeological Hills, returning to Geodetic Zero in Tokyo on Day 4. This encyclopedic journey through The Telepathic Motion Picture of the Lost Tribes documents locations across Japan and the American Southwest, mapping territories where the strange brains synchronize time and the UFOs maintain their patient surveillance.