DrMotiNissani

Book title: Eight Billion Cheers for Direct Democracy: Direct Democracy is Humankind's Las, Best, and-Only Hope You can freely download this book at any one of the five links provided below: drnissani.net / https://drnissani.net/mnissani/DirectDemocracy.pdf Libgen / https://download.library.lol/main/3622000/f7c85332f220ebf1c008311e910658d8/Moti Nissani - Eight Billion Cheers for Direct Democracy-Dying of the Light Press (2023).pdf Everand / https://www.scribd.com/book/625163695/Eight-Billion-Cheers-for-Direct-Democracy-Direct-Democracy-is-Humankind-s-Last-Best-and-Only-Hope Smashwords / https://www.smashwords.com/books/view/1339269 ResearchGate / https://www.researchgate.net/publication/367379858_Eight_Billion_Cheers_for_Direct_Democracy_Direct_Democracy_is_Humanity's_Last_Best_and_Only_Hope

ENCYCLOPEDIA OF DOMESTIC ASSASSINATIONS THE US/UK SMEAR, HARASS, BLACKMAIL, BRIBE, INCARCERATE, OR MURDER ALL INFLUENTIAL DISSIDENTS You can freely download this book at any one of the five links provided below: drnissani.net / https://drnissani.net/mnissani/Encyclopedia%20of%20Domestic%20Assassinations.pdf Libgen / http://library.lol/main/621A97D2B9A801E85045CCBED48C0547 Everand / https://www.everand.com/book/583255696/Encyclopedia-of-Domestic-Assassinations-The-US-UK-Smear-Harass-Blackmail-Bribe-Incarcerate-or-Murder-all-Influential-Dissidents Smashwords / https://www.smashwords.com/books/view/1153026 ResearchGate / https://www.researchgate.net/publication/362693516_Encyclopedia_of_Domestic_Assassinations

Credits: Lyrics (2004): Julia Donaldson Composers: Andriy Voloshchenko and Vasyl Ovchynnikoy Instrumental: Osinki Vocals: Onyie / Andrey Lavrushkin Original Ukrainian melody: Нiч яка мiсячна (What a Moonlight Night) Video production: Maria Ignateva / Andrey Lavrushkin Technical Supervision: Donna Nissani Producers: Donna and Moti Nissani Project Conceptualization and Oversight: Moti Nissani

Here is a self-actualization manifesto, compiled mostly from the writings of people who themselves came close to reaching that level of human development. Credits: Background music: Jay Unger, Ashokan Farewell Performers: Jay Ungar and Molly Mason Reader: Donna Nissani Video montage: Maria Ignateva Background image: Auguste Rodin, The Thinker Lyrics Inspired for the most part by: Confucius, R. Buckminster Fuller, Eugene Debs, Rudyard Kipling, Walt Whitman, Bertrand Russell, New Testament, W. H. Davis, Democritus of Abdera, John Donne, Pericles of Athens, Thomas Jefferson, Marcus Garvey, Anton Chekhov, Martin Luther King, Jr. Singing Poetry Project, Conceptualization and Oversight: Moti Nissani Recommended Reading: R. Buckminster Fuller, Critical Path. Democritus of Abdera, cited in: Daniel W. Graham, The Texts of Early Greek Philosophy, pp. 672-681. Eugene Debs, The Canton Speech, Statement to the Court. https://jacobin.com/2020/06/eugene-debs-statement-court-sedition-act-september-1918 Bertrand Russell. A History of Western Philosophy. Walt Whitman, Leaves of Grass. Martin Luther King, I Have a Dream. https://www.npr.org/2010/01/18/122701268/i-have-a-dream-speech-in-its-entirety Moti Nissani, Eight Billion Cheers for Direct Democracy.

This poem follows the millennial tradition of anti-war art, a tradition which goes at least as far back as Aristophanes and which continues to the present day. However, we can now put an end to war: “It is now highly feasible to take care of everybody on Earth at a higher standard of living than any have ever known. It no longer has to be you or me. Selfishness is unnecessary. War is obsolete. It is a matter of converting the high technology from weaponry to livingry. . . This is not an opinion or a hope — it is an engineeringly demonstrable fact.” — R. Buckminster Fuller Credits: Lyrics: Thomas Hardy (1840–1928) Melody: Evgeny Rodygin (1925–2020) Vocals: Tayu Videla Musical production: Andrey Lavrushkin Video Production: Maria Ignateva Background image: Anti-War Graffiti: Dove with Bullet-Proof Jacket Technical oversight: Donna Nissani Producers: Donna and Moti Nissani Project conceptualization and oversight: Moti Nissani

Before, long after, and during World War I, Ireland was a conquered country, under the heel of the English ruling class. English occupation involved genocides, death and exile of millions, theft of land, food, and other resources, and the transformation of the remaining Irish into strangers in their own land. The Irish tried to revolt, again and again, but failed. The narrator of the poem, a young Irishman, foresees his own and his neighbors’ never-ending life of poverty and quite desperation, regardless of who emerges victorious in that senseless war. Death, he feels, is better than such a life. So, instead of committing suicide, he decides to die gloriously among the clouds, fighting for the pillagers of his people. Credits: Lyrics (1918): William Butler Yeats (1865–1939) Melody (1912): Vasily Agapkin (1884–1964) Vocals: Andrey Lavrushkin Musical Inspiration: Dina Garipova Video Production: Maria Ignateva Technical Supervision: Donna Nissani Producers: Donna and Moti Nissani Project Conceptualization and Oversight: Moti Nissani

By appealing to our love of the natural world, this classical poem helps us see something as common as springtime daffodils with a fresh eye. Credits Lyrics: William Wordsworth (1770–1850) Melody: Eduard Kolmanovsky (1923–1994) Vocals: Hari Mason Musical Production, Recording, Mastering: Josue Arias, Kymátika Studio, Argentina Video Montage: Maria Ignateva Technical oversight: Donna Nissani Producers: Donna and Moti Nissani Project Conceptualization and Oversight: Moti Nissani

This video is part of Dr. Moti Nissani's Singing Poetry Project. Credits: Lyrics: Christina Rossetti (1830–1894) Melody: A Russian folk song "Oy, to ne vecher" (Ой, то не вечер) Vocals: Hari Mason Viola: Agustín Cárdenas Musical Production, Recording, Mixing, Mastering: Josue Arias, Kymátika Studio, Argentina Video Montage: Maria Ignateva Technical Supervision: Donna Nissani Producers: Donna and Moti Nissani Project conceptualization and oversight: Moti Nissani Visual sources: Photos of Donna Nissani, open-source and AI generated images, paintings of John Brett, John Everett Millais, Johan Christoffer Bayer, Isaac Levitan, Abbott Handerson Thayer, Henri Fantin-Latour, Jean-Baptiste Camille Corot, Narcisso Virgilio Díaz de la Peña and unknown artists of English School.

This video is part of The Singing Poetry Project. Each video in this project combines a poem from the English-Speaking world with a melody from outside that world. This not-for-profit project is not copyrighted. Any part of this project or the project as a whole may be freely reproduced, modified, or transmitted in any form or by any means, without requesting prior consent. In all such cases, however, attribution should be made to The Singing Poetry Project, and its online address should be provided. Video contributions to this project are warmly accepted and should be sent to: Dr. Moti Nissani (Moti.Nissani@wayne.edu). Besides abiding by existing copyright laws, at the moment we can only consider poems in English combined with non-copyright melodies that originated outside the Anglosphere (U.K., U.S., Canada, Australia, or New Zealand). The present poem focuses on the magnificent Whooping Cranes of North America. By 1941, the numbers of these once-numerous birds reached a nadir of just 23. Since then, protective measures and conservation efforts led to a precarious recovery: by early 2023, the total number of whooping cranes in captivity and the wild rose to 836. Credits: Lyrics (2015): Cori MacNaughton Melody (1969): Yan Frenkel Musical Inspiration: Mark Berns Vocals and Recording: Andrey Lavrushkin Video Montage: Maria Ignateva Technical Supervision: Donna Nissani Producers: Donna and Moti Nissani Project Conceptualization and Oversight: Moti Nissani

Half a century ago, Taylor Caldwell correctly predicted that the men of the Invisible Government “would continue to grow in strength, until they had the whole silly world, the whole credulous world, the whole ingenuous world, in their hands.” How do America’s rulers manage to increase their power and wealth at everyone else’s expense? This video shows that their ascendance can be traced to 16 or so overlapping pillars. Supporting materials and references are available here: https://drnissani.net/mnissani/16Pillars.htm Music credits: Jackson Browne, Paul Robeson, Elizabeth Mitchell.

Bottlenose Dolphins in Laguna Requesting a Throw Net (Supporting material for Dr. Nissani's presentation at the 2007 International Ethological Conference.) In collaboration with colleagues Arthur Schiefler and Prof. Dr. Geraldo Milioli, I have studied what Karen Pryor refers to as "a dolphin-human fishing cooperative in Brazil (Marine Mammal Science 6:77--82). We were especially interested in this question: "Do the dolphins understand that they are giving a signal to the fishermen to cast the net, or have they acquired this unique signal through blind, mindless, years-long, trial and error learning?" We paid therefore particular attention to the fairly standardized and stereotypic signal given by these bottlenose dolphins. We do not know yet whether the dolphins understand their signaling action, but we plan to publish a detailed description and analysis of the signal itself. Until we get around to this laborious job, we decided to place some of our best signaling clips, of different dolphins, on the web. We would welcome any comments and interpretations of what is seen here (aa1674@wayne.edu). Here, anyway, is one sequence of dolphins Arreia Braço first, and then Ligerinho, taking place on November 2, 2006. We may also note in passing that this natural wonder is under severe threat, leading to at least two applications 1. If you find yourself in the Laguna area, it's well worth a visit. It's one of the most beautiful towns in Brazil, with great surfing and wonderful people--all these besides the signaling dolphins. 2. Maybe, if just enough people realize the grave threat (from pollution, overfishing, overpopulation, motor boats . . . ) to the remnants of this natural wonder, the dolphins, and the way of life of the traditional fishermen and hobbyists, can still be saved. It's almost Earth Day, 2008, when we're posting this, so maybe humanity, Brazil, the state of Santa Catarina, the cities of Tubarão and Laguna, will still come to their senses and save this fabulous, incredibly beautiful and touching, dolphins and their odd way of sustaining themselves in a hostile world. Nature of Signal (of the Dolphins of Laguna “Asking” Fishermen to Cast their Nets) We have video recordings of complete, or partial, 68 signaling sequences, filmed on 11 different days, in the spring of 2006, from September 7 to November 5, in collaboration with colleagues Arthur Schiefler and Prof. Dr. Geraldo Milioli. Of these 68 signals, 54 were recorded in two adjacent, standing fishermen only, locations, on the Laguna side of the inlet. The other 14 were recorded in a more western location on the Laguna site, comprising 6-10 active standing fishermen on the eastern portion of the site joined to the west by two canoeists, all forming a single line. The sequence typically begins with the rapid surfacing of the signaling dolphin (henceforth: start of signal). Of the 45 signals for which we have a video record of first sighting a would-be signaler, in 42 the first body part observed above water was the rostrum or rostrum and head, in one episode of breaking surface, the dorsal fin was seen first, and in two others, the entire body could be observed under the water prior to breaking surface. In 53 of 55 of videorecorded cases, the surfacing was accompanied by a short, explosive, air exhalation. We were able to record the time lapse between first sighting of a signaling dolphin and visible start of exhalation in 41. In one of these cases, the exhalation started at the same time the dolphin first emerged. In the other 40, the exhalation took place after a brief delay (Mean: 0.16 seconds; range: 0.07-0.33). Signaling dolphins reach maximum elevation of their head within 0.19 seconds of first becoming visible (N=33, range, 0.1-0.5 seconds), with the head at an average angle to the water of 28.8º (N=24, range 15º-35º). The fin is typically first seen in 0.3 seconds from the start (N=39, range; 0-0.77). On average, the tip of the rostrum touches the water in 0.43s from the start of the sequence (N=33; range 0.17-0.83). The dorsal fin reaches its approximate highest position by 0.84s (N=48, range .53-1.5). In 39 of 53 cases, the last part observed before the dolphin vanished below the surface of the water, the dorsal fin was seen last. In 8 additional cases, the tip of the dorsal fin and the midway portion of the dorsal part of the body, approximately midway between fin and fluke, were seen last at the same time. In 4 other cases, the fluke was seen last. The average duration of any part of the body staying above water during the signaling sequence was 1.40s (N=56; range-0.93-2.50; standard deviation 0.3). Of the 68 signals, 34 were directed seaward, roughly in an eastern direction, in 7 the head was directly facing the line (North), in 8 it was directed towards the line, but at an angle (roughly north-east or north-west), in 17, the movement was towards the right, away from the sea, in a right-hand angle to the left of the line of standing fishermen or mixed fishermen/canoeists. In one case it was directly away from the fishermen (South), and in still one other case, away at an angle (roughly SW).

Bottlenose Dolphins in Laguna Requesting a Throw Net (Supporting material for Dr. Nissani's presentation at the 2007 International Ethological Conference.) In collaboration with colleagues Arthur Schiefler and Prof. Dr. Geraldo Milioli, I have studied what Karen Pryor refers to as "a dolphin-human fishing cooperative in Brazil (Marine Mammal Science 6:77--82). We were especially interested in this question: "Do the dolphins understand that they are giving a signal to the fishermen to cast the net, or have they acquired this unique signal through blind, mindless, years-long, trial and error learning?" We paid therefore particular attention to the fairly standardized and stereotypic signal given by these bottlenose dolphins. We do not know yet whether the dolphins understand their signaling action, but we plan to publish a detailed description and analysis of the signal itself. Until we get around to this laborious job, we decided to place some of our best signaling clips, of different dolphins, on the web. We would welcome any comments and interpretations of what is seen here (aa1674@wayne.edu). Here, anyway, is one sequence of dolphins Arreia Braço first, and then Ligerinho, taking place on November 2, 2006. We may also note in passing that this natural wonder is under severe threat, leading to at least two applications 1. If you find yourself in the Laguna area, it's well worth a visit. It's one of the most beautiful towns in Brazil, with great surfing and wonderful people--all these besides the signaling dolphins. 2. Maybe, if just enough people realize the grave threat (from pollution, overfishing, overpopulation, motor boats . . . ) to the remnants of this natural wonder, the dolphins, and the way of life of the traditional fishermen and hobbyists, can still be saved. It's almost Earth Day, 2008, when we're posting this, so maybe humanity, Brazil, the state of Santa Catarina, the cities of Tubarão and Laguna, will still come to their senses and save this fabulous, incredibly beautiful and touching, dolphins and their odd way of sustaining themselves in a hostile world. Nature of Signal (of the Dolphins of Laguna “Asking” Fishermen to Cast their Nets) We have video recordings of complete, or partial, 68 signaling sequences, filmed on 11 different days, in the spring of 2006, from September 7 to November 5, in collaboration with colleagues Arthur Schiefler and Prof. Dr. Geraldo Milioli. Of these 68 signals, 54 were recorded in two adjacent, standing fishermen only, locations, on the Laguna side of the inlet. The other 14 were recorded in a more western location on the Laguna site, comprising 6-10 active standing fishermen on the eastern portion of the site joined to the west by two canoeists, all forming a single line. The sequence typically begins with the rapid surfacing of the signaling dolphin (henceforth: start of signal). Of the 45 signals for which we have a video record of first sighting a would-be signaler, in 42 the first body part observed above water was the rostrum or rostrum and head, in one episode of breaking surface, the dorsal fin was seen first, and in two others, the entire body could be observed under the water prior to breaking surface. In 53 of 55 of videorecorded cases, the surfacing was accompanied by a short, explosive, air exhalation. We were able to record the time lapse between first sighting of a signaling dolphin and visible start of exhalation in 41. In one of these cases, the exhalation started at the same time the dolphin first emerged. In the other 40, the exhalation took place after a brief delay (Mean: 0.16 seconds; range: 0.07-0.33). Signaling dolphins reach maximum elevation of their head within 0.19 seconds of first becoming visible (N=33, range, 0.1-0.5 seconds), with the head at an average angle to the water of 28.8º (N=24, range 15º-35º). The fin is typically first seen in 0.3 seconds from the start (N=39, range; 0-0.77). On average, the tip of the rostrum touches the water in 0.43s from the start of the sequence (N=33; range 0.17-0.83). The dorsal fin reaches its approximate highest position by 0.84s (N=48, range .53-1.5). In 39 of 53 cases, the last part observed before the dolphin vanished below the surface of the water, the dorsal fin was seen last. In 8 additional cases, the tip of the dorsal fin and the midway portion of the dorsal part of the body, approximately midway between fin and fluke, were seen last at the same time. In 4 other cases, the fluke was seen last. The average duration of any part of the body staying above water during the signaling sequence was 1.40s (N=56; range-0.93-2.50; standard deviation 0.3). Of the 68 signals, 34 were directed seaward, roughly in an eastern direction, in 7 the head was directly facing the line (North), in 8 it was directed towards the line, but at an angle (roughly north-east or north-west), in 17, the movement was towards the right, away from the sea, in a right-hand angle to the left of the line of standing fishermen or mixed fishermen/canoeists. In one case it was directly away from the fishermen (South), and in still one other case, away at an angle (roughly SW).

The first part of this research film highlights the beauty, daily lives, contributions to sustainable logging, and behavior of elephants. The second part describes experiments on their vision, sense of smell, short-term memory, problem-solving abilities, discrimination tasks, insight, cognition, self-awareness, theory of mind, and consciousness. Acknowledgements: Moti Nissani, Donna Nissani, Bettie McIntyre . . . and dozens of others.