Friday, October 19, 2012

Column: Are reporters to blame for Armstrong myth?

Just so much to say! EVERYBODY was in on IT!.....FROM TOP down ...Now they ALL want to ease their ??? ......it was other guy,He should of done more!  what about ALL the others ???   .................STILL watching/Love   de Tour!!!  THIS year is 100  and Let's start THIS 1 .....right?     

Column: Are reporters to blame for Armstrong myth?                     http://sportsillustrated.cnn.com/2012/cycling/wires/10/18/2080.ap.cyc.john.leicester.101712.2065/index.html?sct=obnetwork

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AP Sports Columnist
PARIS (AP) - The memory from the 2003 Tour de France remains fresh - because it was among the more astounding things I've seen as a journalist.
His collarbone fractured in two places from a crash the previous day, Tyler Hamilton oh-so-gingerly eased himself down from his team bus, step by wincing step, and painfully climbed onto his bike. He rode all that day, in pain so vivid he later described it as a color - electric green. And the next day, and the next 17 stages after that - thousands of kilometers to Paris.
Now, Hamilton confesses that his body was awash with banned drugs and blood transfusions, that the "feat'' of his fourth place that year behind first-place Lance Armstrong wasn't the story of pure, teeth-grinding determination it seemed when I reported it.
What a dope.
I mean me, not just him.
It feels like a punch to the stomach to learn that Hamilton and other former teammates of Armstrong were for years systematically doping - and say that he was, too - because it happened under our very noses, we reporters who waited daily outside the team buses at the Tour, doing our job.
I and others didn't see that Armstrong's team was running what the U.S. Anti-Doping Agency now tells us was "the most sophisticated, professionalized and successful doping program that sport has ever seen.''
Why? I'm not the only journalist who has been asking themselves that question since USADA published damning testimonies from former U.S. Postal Service riders last week, to explain why it banned Armstrong for life and erased his seven Tour titles.
"We were all good actors. We all had two faces - the face for the public and for the journalists, and the face behind closed doors,'' says Hamilton, who rode the 1999-2001 Tours at Postal with Armstrong but was with Team CSC in 2003.
"You're almost like a robot,'' he says. "My answers when I spoke to journalists, especially when it got to the doping kind of questions, they all became kind of standard.''
So that was a big part of it: Co-conspirators in the Postal fraud were capable not only of deceiving themselves that doping was necessary but of looking people in the eye and saying, "Me? Drugs? Never!''
Look again at video of Armstrong saying words to that effect ad nauseam over the years. There's nothing, to my eye, in his body language, his unblinking stare, to suggest even now that he wasn't telling the truth. I always figured that there'd have to be, that grotesque lies can't be told and retold without there being some telltale twitch or furtive expression. Naive? I've been asking myself that question this past week, too.
Was I negligent, even willfully blind? I'd like to think not. I heard the mounting drumbeat of suspicion that surrounded Armstrong's ever-longer string of wins and mentioned it in reports from the Tour, which I covered from 2003-2006. But, in light of USADA's findings, I now wish that I had reported the doubts more prominently. Hindsight is very illuminating.
I also read the work of colleagues - David Walsh, Pierre Ballester, Damien Ressiot and others - who defied Armstrong's myth-making, power and lawyers, dug deeply, and produced books and reports alleging or suggesting he doped. They're among the few who emerge from all this with enhanced reputations.
But to me and other reporters at the Tour, there wasn't the critical mass to be able to say flat-out that Armstrong was a cheat. His story - cancer survivor wins toughest bike race - was so extraordinary that I agreed when he said in 2004 that proof of doping needed to be extraordinary, too. Until last week, we didn't have the smoking gun that USADA's extraordinary proof, with testimony from 11 former teammates, appears to be.
"It's just so easy to say, `Yeah, the journalists should have dug deeper.' Well, my God, Walsh and Ballester dug as deep as you could dig and, you know, they didn't get anywhere. They really did not get anywhere,'' says Samuel Abt, who reported from 32 Tours, writing for The New York Times and other publications.
"I've gone back, in fact, and looked at some of the things that I wrote at the time and I didn't find any of it embarrassing. Now, of course, I find it uninformed. But, like you, there was nothing else to do. We just didn't know anything and suspecting is not the way to go on this.''
"I had terrific access to him because I had known him for so long,'' Abt adds of Armstrong. "In `99, at Alpe d'Huez, he gave me an interview and I asked him, straight out. I said, `Are you doping?' And he said, `No way!' I don't remember the exact quote now. He said, `Absolutely not.' He said, `There's no reason I would,' and he went on and on and he flatly denied. And it was all a lie. Yeah, he was a terrific liar.''
Betsy Andreu thinks some of us didn't look hard enough, didn't want to know, and "would just buy Lance's lie hook, line and sinker.'' Her husband, former Armstrong teammate Frankie Andreu, testified to USADA. They both also previously testified that they heard Armstrong admit doping, which led to a long feud between them. Armstrong strongly denies doping, but in August gave up fighting USADA's findings.
"You heard these stories, you saw these incidents - and I'm saying you, collectively - but yet very few, if any, did anything about it,'' Betsy Andreu says. "I understand if no one is going to go on the record. I get that. But with Lance, you just had so many incidents. There were red flags all along. Just because the hand isn't caught in the cookie jar doesn't mean there's nothing there.''
But deceit was carefully organized. Armstrong's team froze out cycling reporters who grew suspicious and critical, like Jeremy Whittle.
"It was his body language, and I just realized there was something very seriously wrong going on, and I wrote a piece in 2001, which I think is when I was blacklisted,'' Whittle told the BBC this week. "After that there was no access.''
One morning at the 2004 Tour, Armstrong invited my Associated Press colleague Jerome Pugmire onto his bus and then berated him for an article he and I wrote that referred to some of the doping suspicions surrounding him. In hindsight, and to Jerome at the time, that was part of the apparent pattern by Armstrong over the years to intimidate and try to silence critics, journalists and other riders.
Hamilton says they were told at Postal to avoid certain reporters.
"The bus had the tinted windows so you guys could not see inside but we could look out, and sometimes they'd point to a certain journalist and say, `Don't talk to that guy, don't talk to this guy, don't talk to that lady.' And if you did talk to them you'd get in trouble,'' he says.
"We had our favorite journalists. They had the inside scoop to the team because they asked the right kind of questions. Once the journalist burned us one time, then that was it.''
Daily, outside the Postal bus was an unruly scrum. Fans waving things to autograph, people affected by cancer, journalists, plainclothes policemen, heaving against barriers, elbowing and yelling "Lance!'' His two bodyguards kept people back. When he spoke, if he spoke, Armstrong typically answered a few questions, mostly about the race and often to Frankie Andreu, his former teammate working in television and then still keeping quiet about his own doping as a pro. Other reporters tried as best they could to grab Armstrong quotes. It was frequently intense, frustrating and not conducive to getting to the bottom of things.
"The strongest dope was the narrative of Lance as a fighter, as a cancer survivor, as the strongest endurance athlete in the world,'' says Daniel Coyle, co-author of a new tell-all book with Hamilton, "The Secret Race.'' "They understood the importance of access to that narrative.''
Perversely, the drug tests supposedly meant to catch cheats were perhaps Armstrong's biggest shield. Urine, blood, hundreds of them. They kept coming back negative. Armstrong brandished that over and over at us. Only now, from USADA's 1,000-page file and from Hamilton's book, do we have a fuller understanding of how Postal riders danced around the controls while doping - by using undetectable transfusions, saline drips to normalize their blood readings, and doctors who helped them dose the blood-booster EPO and other drugs without triggering positives.
"I'm not going to blame the journalists here. I'm going to blame the system,'' Coyle says. "If you can't trust the people whose job it is to police the sport, you can't report on that sport. You can't expect to get into closed rooms, you can't expect to get into these guys' luggage, you can't expect to find the motorcycle courier who is delivering EPO. It's too much.
"A lot of people knew something was up but as a journalist you could only go where the light is. You can look into the shadows, but until you've got someone to take your arm and say, `OK, I'm walking you into the shadows,' what's there to write? People tried to stake out Lance's hotel room, but when they say, `No, I'm clean,' you're kind of obligated by the rules of the profession to report that quote and not report on your hunches. My press badge did not say, `Guy with hunch.'''
Mine, neither.
We tell what we know. We tell stories. Armstrong's is as big as stories come.
Now?
I only wish I could have told it better.
---
John Leicester is an international sports columnist for The Associated Press. Write to him at jleicester(at)ap.org or follow him at http://twitter.com/johnleicester

Read more: http://sportsillustrated.cnn.com/2012/cycling/wires/10/18/2080.ap.cyc.john.leicester.101712.2065/index.html#ixzz29mxDslNu

Christina Aguilera’s “Not Myself Tonight”: More Illuminati Music

nice mouse's hmm?                                         http://vigilantcitizen.com/musicbusiness/christina-aguileras-not-myself-tonight-more-illuminati-music/

Christina Aguilera’s “Not Myself Tonight”: More Illuminati Music


Christina Aguilera’s new album and video introduces fans to a definite style change. The singer now clearly fits the mold of the occult music industry by  incorporating its themes and symbolism into her art. We will look at the hidden meaning of her video “Not Myself Tonight” to and we’ll see how her new album relates with the rest of the music industry.


I’ve always considered Christina Aguilera to be a notch above most pop singers due to the fact that she could actually sing. However,  in order to continue with her success, it was only a matter of time before she ended up in the same place as the other pop stars in the market today. Everything about her new album is heavily tainted with the Illuminati agenda, and the first single Not Myself Tonight acts as an initiation piece. It contains many elements seen in other videos discussed on The Vigilant Citizen, which probably explains the number of e-mails I’ve received regarding it. Some observers have accused Not Myself Tonight of copying Lady Gaga’s Bad Romance. We will see that this plagiarism is, in fact, Christina only following the trend forced on pop stars.
Warning: Parts of this article might be disturbing for some.

From Christina to Xtina

Christina was first discovered by Disney, a company that has specialized in recruiting kids who then progressively become sex bombs as the years go by (Miley Cyrus is next).  Christina was part of a particularly prolific edition of the Mickey Mouse Club.

Christina used her great talent to make her way into the pop scene with the 1999 album Christina Aguilera, with a clean “innocent teen” look. Everything changed in 2002-2003 with the release of the album Stripped. In a very symbolic performance during the 2003 MTV Video Music Awards, Christina is “consecrated” by the Kabbalistic Grand Priestess Madonna. This highly publicized event deserves a second look.

2003 VMA Perfomance

Taking place on a Masonic checkerboard-patterned floor, this symbolic performance is the ritualistic initiation of Britney Spears and Christina Aguilera into the occult music business. The ceremony starts with Britney and Christina making their way down a pyramid-shaped cake singing Madonna’s Like a Virgin. The song choice is very significant as it describes the young singers’ purity and innocence before the ceremony. This is also reinforced by their white gowns. Then the Priestess comes out, wearing a black tuxedo and a Masonic top hat.

She sings Hollywood, a song about the city symbolizing the entertainment establishment, the gateway to super-stardom. Madonna is a representative of the occult industry and welcomes Britney and Christina into it. She sings:
Everybody comes to Hollywood
They wanna make it in the neighborhood
They like the smell of it in Hollywood
How could it hurt you when it looks so good?
Shine your light now
This time it’s got to be good
You get it right now
Cause you’re in Hollywood

The entire performance puts into light Madonna’s domination and superiority over the singers. She ultimately passes on the torch to the two singers with a symbolic kiss.

They should maybe bear in mind this verse from the song Hollywood:
I lost my memory in Hollywood
I’ve had a million visions bad and good
There’s something in the air in Hollywood
I tried to leave it but I never could

Following in the footsteps of Madonna, Christina and Britney then appeared to dabble with Kabbalah, though only a “Hollywood” brand of Kabbalah, as tattoos are not permitted in its sacred scriptures.
Left is Britney’s tattoo of the Hebrew letters Mem-Hey-Shin, one of the 72 names of God. This one represents “healing”. Right is Christina’s tattoo of the Hebrew characters Yud and Bet, apparently dedicated to her husband Jordan Bratman.
In the years that followed, Christina took the apparently obligatory “sexualization” path of Illuminati idols and also appeared in works associated with black magic and mind control.

New Christina

Black magic photo shoot complete with ritualistic pentagram and discarded dolls
Dehumanization and alter persona symbolized by the mannequin
Her latest effort completely embraces today’s Illuminati agenda by exploiting the theme of transhumanism (explained in this article). The album title “Bi-on-ic” and the cover art is truly about the merger of man and robot. Christina’s head is portrayed as a programmable mechanism, a concept relating to mind control. “Bi-On-Ic” also apparently means “bisexual on ice”, ice being the slang word for methamphetamine. So, when she is under the influence of this powerful drug, she becomes bisexual. Knowing that methamphetamine is extensively used on mind control victims, especially in sexual programming, the album title is rather disturbing.
Christina as a programmable robot (reference to mind control) and the now inevitable focus on one eye

More One Eye Symbolism

As seen in many other articles, almost all pop artists taking on Illuminati themes in their art almost always flash the “one eye sign” in their videos or photo shoots. Christina is not an exception.




Concept of Not Myself Tonight

Not Myself Tonight has been accused of copying Lady Gaga’s Bad Romance. Although the videos were produced by two different directors (Francis Lawrence for Gaga and Hype Williams for Christina), they both exploit similar themes, which are also common in many other pop music videos. Although it is easy to say “the bitch copied Gaga!”, this statement does not take into consideration the bigger picture of the music industry. The same themes are expected and required to be prevalent in today’s hits. The industry defines its own trends and in order to be successful, artists must follow these trends and communicate the same messages. Not Myself Tonight is simply a continuation of the Illuminati agenda through another artist, and therefore exploits its trademark themes such as mind control, transhumanism, occult initiation and so forth. Here’s the video.
The subject of the song is Christina being “not herself tonight” which is, at face value, her wanting to go out and go crazy, “kissing the boys and the girls.” However, the imagery and symbolism of the video adds another level of interpretation to the song that refers to mind control, occult initiation and alter personalities. The theme of being “out of character” and not controlling one’s actions is often portrayed in recent videos and is associated, through symbolism, to Monarch programming or supernatural “possession.” This is often symbolically represented by the classic “devil horns” as seen on the promo image of her single.

As said earlier, she is just following the trend set by the industry.

Monarch programming is a mind-control method based on the creation of an alternate persona through the usage of torture and ritual abuse. Some authors on the subject, such as Ron Patton, have mentioned that Monarch programming utilizes ancient occult techniques reminiscent of spirit possession. The lyrics of the song reflect the creation of a new persona:
“I’m out of character, I’m in rare form
And if you really knew me, you’d know its not the norm

Cos I’m doing things that I normally won’t do
The old me is gone
, I feel brand new
And if you don’t like it, fuck you”

As we will see later, the symbolism of the video is based on initiation and on the creation of an alter personality, which is expressed lyrically The old me is gone, I feel brand new. The theme of being a crazier/wilder/sexier self is often portrayed in recent videos and is almost always coupled with scenes of restraint, dehumanization and/or torture. This is an obvious case of cognitive dissonance, where the portrayal of torture is a part of one’s “liberation.” In Not Myself Tonight, Christina is seen hog-tied with her eyes forced opened, which is reminiscent of mind control victims being forced to watch videos to reinforce their programming.
This practice is depicted in the mind-control themed Clockwork Orange by Stanley Kubrick.
Screen shot from Clockwork Orange where Alex is forced to watch ultra-violent scenes as part of his reprogramming.

Sex Kitten Programming

The first part of the video is heavily tainted with references to mind control and, more precisely, Sex Kitten programming. This trend is becoming increasingly common in the music and fashion industry.
BETA. Referred to as “sexual” programming. This programming eliminates all learned moral convictions and stimulates the primitive sexual instinct, devoid of inhibitions. “Cat” alters may come out at this level.
-Ron Patton, Project Monarch
In mind control, Beta programming, also known as Sex Kitten programming creates in the dissociative victim an alter-personality that is a programmed to be sex slave.
“The mind will begin to dissociate, and will begin to reverse the primordial brain functions such as pain is pleasure. The person’s mind rearranges. This is often done with Beta alters or Beta models to get them to think that the pain of sadistic rape is a pleasure. After this reversal in the mind that “PAIN IS LOVE”, the S&M kitten alters will beg their handler to slap them, tie them up, hurt them, etc.”
- Cisco Wheeler and Fritz Springmeier, The Illuminati Formula Used to Create an Undetectable Total Mind Controlled Slave
Some references to sex kitten programming are peppered throughout the video.

The creation of alter personalities is represented in the video with Christina being surrounded by  look-a-likes. She plays the role of the mind-control handler herself.
BDSM, submission and alter personalities portrayed in this “tribute” to Madonna’s Express Yourself

Ritual Initiation

The second part of the video essentially describes Xtina’s “initiation” through ritual sex. Some symbolic scenes tell this story.
Halfway through the song, Christina is dressed in black with masculine features and standing between two pseudo-masonic pillars.
This scene is similar to the VMA performance referenced above, where Madonna played the master of ceremonies. Christina plays the same role in this scene. She is standing on top of stairs, near a mysterious gateway, symbolizing her high rank within the “inner-hierarchy”. Her monocle covers one eye which refers to the Illuminati power structure. The master of ceremonies kicks off the ritual initiation of Xtina, the Sex Kitten.
In the following scene, Xtina is shown entering a doorway, symbolizing the “passing through the gates” of her initiation.
Xtina is then shown putting fire to her clothes, indicating that she is destroying her old self and embracing the new Xtina alter persona.

The initiation is then sealed and consummated by nothing less than an orgy inside a church.
The scene in the church gives spiritual connotation to the initiation. An orgy in a place that is considered sacred is a form of desecration that  is reminiscent of black magic rituals. The video is not simply about a girl wanting to “go crazy,” it is about an initiation into the “dark side.”
To further portray the completion of the initiation of this mind control slave, Xtina is shown covering herself with “black milk” or maybe black semen.
“Sexual abuse [...]  is more powerful when it is put into the context of demonic magic. The abuser’s semen is magic and seals the programming. The ritual aspect of it, and the repetitive nature of the abuse creates several dynamics that accompany the abuse that wouldn’t occur in non-ritual abuse.”
- Cisco Wheeler and Fritz Springmeier, The Illuminati Formula Used to Create an Undetectable Total Mind Controlled Slave

In Conclusion

Although Christina Aguilera’s new work was accused of plagiarism by some pop culture observers, they fail to realize that she is simply following the agenda forced on pop stars. The standardization of the music industry has resulted in different artists exploiting the same symbolism, themes and aesthetics. Superficial differences define each artist, but the content and message of their music stay the same. If some articles on this site appear redundant, it is because of the clear redundancy of the messages communicated by the music industry through the products it promotes. This repetition is an important clue to identify the existence of a alternative agenda in the industry.
The complete transformation of Christina Aguilera for the Bionic album, and her embrace of ALL of the themes discussed in previous articles (including the “one-eye thing”) should send you a clear message. There is an agenda in the music industry and one must fit the mold in order to get promoted as a star. This does not guarantee worldwide success, but it is the only way to get the industry approval needed to obtain it.

LAPD probing 12 homicides linked to Manson family

LAPD probing 12 homicides linked to Manson family

There are open investigations on a dozen unsolved homicides committed near places the Manson family operated, Los Angeles police reveal.



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Charles “Tex” Watson was a follower of Charles Manson
Charles “Tex” Watson, right, was a follower of Charles Manson. Los Angeles police say audio tapes of Watson and his attorney in 1969 might shed light on unsolved homicides. (Los Angeles Times)
The Los Angeles Police Department disclosed Thursday that it has open investigations on a dozen unsolved homicides that took place near locations where the Manson family operated during its spate of murders four decades ago.
The department made the revelation amid a legal battle to obtain hours of audiotapes recorded in 1969 between Charles Manson follower Charles "Tex" Watson and his attorney. The LAPD has said detectives believe the tapes could shed more light on the activities of Manson and his followers.
But Watson has been fighting to limit police access to the tapes. This month, a federal judge in Texas granted an emergency order preventing the LAPD from executing a search warrant at an office where the tapes are kept.
PHOTOS: The Manson murders
LAPD officials did not disclose details of the cases and said the department was examining the homicides because they occurred near Manson family hangouts around the city.
"These cases have circumstances that are similar to some of the Manson killings," Cmdr. Andy Smith said. "We are hoping that these Tex Watson tapes can provide us further clues on these cases.... We are doing this for the families of these victims."
Manson and his followers were convicted of killing eight people in a notorious plot to incite a race war that he believed was prophesied in the Beatles song "Helter Skelter."
Sharon Tate, the wife of director Roman Polanski, was 8 1/2 months pregnant when she was killed at the couple's hilltop home in Benedict Canyon on Aug. 9, 1969. Polanski was out of the country working on a film. Besides Tate, four others were stabbed and shot to death at the home: Jay Sebring, 35; Voytek Frykowski, 32; coffee heiress Abigail Folger, 25; and Steven Parent, 18, a friend of Tate's caretaker. The word "pig" was written on the front door in blood.
The next night, Manson rode with his cohorts to the Los Feliz home of Leno and Rosemary LaBianca, then left three of them to commit the murders. "Death to pigs" was written on a wall, and "Healter Skelter," which was misspelled, was written on the refrigerator door.
ARCHIVE: Manson verdict front page
Manson family members also were convicted in the killings of musician Gary Hinman, 34, and Donald "Shorty" Shea, a hand at the Chatsworth ranch where the "family" lived.
Some authors and former prosecutors who studied the case have long suspected that the Manson family was responsible for more killings.
Last spring, a U.S. Bankruptcy Court judge in Texas granted the LAPD's request to review eight cassette tapes containing hours of conversations between Watson and his late attorney. But Watson's attorney appealed, and the case was stalled.
The LAPD tried to obtain the tapes using a search warrant. But on Oct. 9, U.S. District Judge Richard A. Schell issued an order forbidding the LAPD and Texas authorities from taking the tapes until the Bankruptcy Court resolves Watson's appeal.
"This court understands and respects the desire of the LAPD to seek access to the 42-year old tapes," Schell wrote. "However, the LAPD has provided no explanation as to why this court should shortcut the usual procedure for determining a bankruptcy appeal of a previous ruling in Bankruptcy Court."
Smith said the Police Department is frustrated with the delays.
"The civil courts here are blocking a criminal investigation," he said. "We don't even have a date for when this will be resolved."
Watson is serving a life sentence for his role in killings.                http://www.latimes.com/news/local/la-me-manson-20121019,0,4095210.story

Free Software Foundation Certifies 3D Printer -- And Why That Matters

Free Software Foundation Certifies 3D Printer -- And Why That Matters

from the I'm-sorry,-Dave,-I'm-afraid-I-can't-do-that dept

Last week Mike wrote about a new patent from Intellectual Ventures that seeks to assert ownership of the idea of DRM for 3D printing. The article in Technology Review that Techdirt linked to explains how things would work:
"You load a file into your printer, then your printer checks to make sure it has the rights to make the object, to make it out of what material, how many times, and so on," says Michael Weinberg, a staff lawyer at the nonprofit Public Knowledge, who reviewed the patent at the request of Technology Review. "It’s a very broad patent."
That's a pretty obvious approach, which any halfway competent engineer would come up with, so it's hard to see how it was ever granted a patent. But leaving aside this familiar problem with the patent system, there's an important issue skated over in the above explanation. It assumes that the printer has the power to disobey you -- that is, to refuse to print out an object that you want, because of the DRM in the file describing it, or because it doesn't have DRM at all. This parallels the situation for computers, where DRM is based on the assumption that your computer is not fully under your control, and has the ability to ignore your commands. That's one of the reasons why free software is so important: it is predicated on the idea that the user is always in control. Against the background of the new 3D-printing patent, this announcement from the Free Software Foundation (FSF) that it has recently certified a 3D printer made by Aleph Objects as "respecting the user's freedom", takes on a particular significance:
The Free Software Foundation (FSF) today awarded its first Respects Your Freedom (RYF) certification to the LulzBot AO-100 3D Printer sold by Aleph Objects, Inc. The RYF certification mark means that the product meets the FSF's standards in regard to users' freedom, control over the product, and privacy.
Here are the FSF's criteria for making the award:
The desire to own a computer or device and have full control over it, to know that you are not being spied on or tracked, to run any software you wish without asking permission, and to share with friends without worrying about Digital Restrictions Management (DRM) -- these are the desires of millions of people who care about the future of technology and our society. Unfortunately, hardware manufacturers have until now relied on close cooperation with proprietary software companies that demanded control over their users. As citizens and their customers, we need to promote our desires for a new class of hardware -- hardware that anyone can support because it respects your freedom.
That is, in making the award, the FSF has established that the LulzBot remains fully under the user's control. Until now, that hasn't been an issue -- there's no practical way to stop someone from simply downloading a file and then printing it out on a compatible 3D printer. But the patent from Intellectual Ventures is the first step towards a time when users of 3D printers will be confronted with issues of control in exactly the same way that computer users are today.
Once 3D printing becomes more widespread, we can certainly expect pressure from manufacturers to bring in laws against unauthorized copying of physical objects and circumvention of 3D DRM schemes, just as the copyright industries have pushed for ever-harsher laws against file sharing. They may even try to get open hardware systems like the LulzBot made illegal on the grounds that the user is fully in control – just as media companies would doubtless love to make computers running free software illegal. That's a battle they lost, largely because free software existed long before digital media files were sold to consumers. We may not be so lucky next time.                    http://www.techdirt.com/articles/20121017/06533320729/free-software-foundation-certifies-3d-printer-why-that-matters.shtml