Twenty-Five Ways To Suppress Truth: The Rules of Disinformation
by H. Michael Sweeney
copyright © 1997 All rights reserved
Permission to reprint/distribute hereby granted for any non commercial use provided information reproduced in its entirety and with author information in tact. For more Intel/Shadow government related info, visit the Light vs. Shadow home page: http://www.teleport.com/~sweenfam/lightshadow.html
Built upon Thirteen Techniques for Truth Suppression by David Martin, the following may be useful to the initiate in the world of dealing with truth, lies, and suppression of truth when serious crimes are studied in public forums. Where the crime involves a conspiracy, or a conspiracy to cover up the crime, there will invariably be a disinformation campaign launched against those seeking to uncover and expose the conspiracy. There are specific tactics which disinfo artists tend to apply, as revealed here. Also included with this material are seven common traits of the disinfo artist which may also prove useful in identifying players and motives. The more a particular party fits the traits and is guilty of following the rules, the more likely they are a professional disinfo artist with a vested motive.
Understand that when the those seeking resolution of such crimes proceed in attempting to uncover truth, they try their best to present factual information constructed as an argument for a particular chain of evidence towards a particular solution to the crime. This can be a largely experimental process via trial and error, with a theory developed over time to perfection or defeated by the process. This is their most vulnerable time, the time when a good disinfo artist can do the greatest harm to the process.
A rational person participating as one interested in the truth will evaluate that chain of evidence and conclude either that the links are solid and conclusive, that one or more links are weak and need further development before conclusion can be arrived at, or that one or more links can be broken, usually invalidating (but not necessarily so, if parallel links already exist or can be found, or if a particular link was merely supportive, but not in itself key) the argument. The game is played by raising issues which either strengthen or weaken (preferably to the point of breaking) these links. It is the job of a disinfo artist to at least make people think the links are weak or broken when, in truth, they are not.
It would seem true in almost every instance, that if one cannot break the chain of evidence, revelation of truth has won out. If the chain is broken either a new link must be forged, or a whole new chain developed, or the basis is lost, but truth still wins out. There is no shame in being the creator or supporter of a failed chain if done with honesty in search of the truth. This is the rational approach. While it is understandable that a person
can become emotionally involved with a particular side of a given issue, it is really unimportant who wins, as long as truth wins. But the disinfo artist will seek to emotionalize and chastise any failure (real or false claims thereof), and will seek to prevent new links from being forged by a kind of intimidation.
It is the disinfo artist and those who may pull his strings who stand to suffer should the crime be solved, and therefore, who stand to benefit should it be the opposite outcome. In ANY such case, they MUST seek to prevent rational and complete examination of any chain of evidence which would hang them. Since fact and truth seldom fall on their own, they must be overcome with lies and deceit. Those who are professional in the art of lies and deceit, such as the intelligence community and the professional criminal (often the same people or at least working together), tend to apply fairly well defined and observable tools in this process. However, the public at large is not well armed against such weapons, and is often easily led astray by these time-proven tactics.
