True US History
By George Freund
Sep 14, 2011 - 10:10:37 PM


Posted by George Freund on September 14, 2011 at 10:20 AM


What are the odds that an avant garde Austrian art group was given access to the 91st floor of the North Tower of the World Trade Center to remove windows, erect platforms outside the structure and leave material that could only be viewed by a close passing helicopter on a clear day? Well they are 100%.

What are the odds the art troupe are named after an explosive called Gelatin? What are the odds this group is sponsored by a cultural group who has an Israeli agent as a member who lived blocks from Mohammed Atta the terrorist who hated modern art and crashed an aircraft into it? Well they are 100%.

What are the odds that the markings on the cases that lined the walls of the space they were using were the same markings used for a special fuse holder assembly that allows for complex wiring? Well they are 100% too.

What are the odds the New York Times actually published a full page feature in August even showing pictures of the artists at work? Yes 100%.


What are the odds the graphic above if found in the hands of a Muslim in Iraq or Afghanistan would get you a one way ticket to Guantanimo with no chance to escape the water boarding season? Well more than 100% for sure.




Of course not to be outdone Gelatin produced a book on their exploits at the World Trade Center.

The B-Thing

Walter König, Cologne, 2001

ISBN: 3-8837-507-9

32 pages, colour throughout, embossed hard covers

Text: Tex Rubinowitz

Photos: Maria Ziegelböck, Thomas Sandbichler, Susanne Wimmer, gelatin

Layout: Johannes Heuer

The B-Thing uncovers the truth behind the rumours of Gelatin's construction of an improvised balcony on the 91st floor of the World Trade Centre in New York. Through preparatory notes written by the boys, diagrams and colour photographs, we are finally able to glimpse the pink sunrise over New York from Gelatin's eyes.


The completed project the little white addition in the upper middle. You can clearly see how precious this art is and what a terrible shame it was destroyed on September 11th. I would tend to place my bets it was a homing device for the aircraft to zero in on the target. Mohammed Atta hit two floors above.

90th floor WTC 1 B-Thing Israeli art students ready to remove a window


Members in their construction rigging and apparatus for the observation deck (crop) Notice the BB18



Members in their construction rigging and apparatus for the observation deck (Full) What if these boxes are actually explosives? What if other spaces were similarly packed?



Diagam of observation deck


Boxes framing the observation deck area

There seems to be little mistake in this image that the towers have been doomed and that these artists are a cover for part of the demolition team.

Many people feel the jumpers were staged. Anyway this piece of art has great significance as a pre 9/11 piece. NO ONE COULD HAVE SUSPECTED THAT A PLANE WOULD CRASH INTO THE TRADE CENTER never mind jump from it.

Part Number: BB18

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An art disply at a gallery showing the New York Times feature

This image is on the Gelatin website. Considering the jumpers from the WTC, it implies much. Was it their role to make it look like people jumped or to relish the event in a demented way.

This photo shows human forms in window frames of the dimensions of the WTC. The shot is from the Naudet film on the bridge between the Marriot and the North Tower. If police and fireman saw these things, it's no wonder they were left in the collapsing towers.

The B-Thing

The book is copyright 2001 Verlag der Buchhandlung Walther Konig, Koln. I'll include more credits at the end of this post.

In short, the work purports to document a March 6, 2000 attempt by art students occupying "studiospace provided by the lower manhatten cultural council (all quoted passages are reproduced as they originally appear, replete with poetically licensed grammar, punctuation, spelling, and line breaks) on the "91. floor of world trade center 1."

"gelatin is on a floor with other artists who are part of this studio program.

gelatins space (the window, where the action will happen), is walled in with a

system of cardboard boxes.

other artists sharing 91. floor do not know what we are planing and doing.

the construction of the balcony and all other preparations are not visible

for them."

The narrative continues:

"the balcony is a prefabriacted construction, made by gelatin.

one person at a time will be able to stand on it.

the balcony will be camouflaged.

it will be built to be as less visible as possible for any passerby on the street.

it will be taken apart the moment after beeing pulled back in."


"one window will be taken out.

the removing of the window is done in a professional and secured action.

no constructive parts of the building will be removed or damaged.

there will not be any visible traces, after the window will have been put

back in."

Finally (for this post)"

"nobody but gelatin is officially involved into the project.

there will be an attorney telling gelatin how to behave.

there will be an attorney responsible to handle the case for gelatin."

A brief section of glossy color photographs "documents" the project. Individuals, apparently of college age, are depicted; all males are turned away from the camera. Two Asian females appear in full-face shots. The majority of pages depict drawings and calculations.

Photos of the balcony -- a narrow, cramped space protruding between exterior support columns -- appear to have been taken from ground level, and these images are grainy and, well, unconvincing. Also, there are photos that appear to have been shot from the balcony itself.

This is a most troubling and thought-provoking little publication. If what it documents is nothing more than a successful prank-as-statement by European and Asian art students, then what does it tell us about the vulnerability of the WTC, just prior to the attacks, to this sort of "tampering"?

Or is there more to the story?

Art students ... Hmmm ...

From the copyright page, more credits:

Text: Tex Rubinowitz

Photos: Maria Ziegelbock, Thomas Sandbichler, Susanne Wimmer, Gelatin

Translation: Jonathan Quinn

Reproductions: Cyberlab, Vienna

Layout: Johannes Heuer

Print: Groebner Druck, Oberhart

Binding: Papyrus, Vienna

Courtesy: Leo Koenig Inc./New York

Galerie Meyer Kainer/Vienna


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