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THE SAD CASE OF DMYTRO BULATOV
Lubomyr Prytulak
Posted on  www.xoxol.org/bulatov/bulatov.html  08-Feb-2014 11:36pm PST, last revised 13-Feb-2014 09:30am PST

Nail gun injury
A nail-gun-accident injury, unrelated to Bulatov, just after removal of the nail.

Anyone following the Dmytro Bulatov story even cursorily must have noticed that the account is riddled with incongruities and discrepancies and implausibilities, as for example that when the injury resulting from a nail being driven into a hand (not Bulatov's) is as shown on the left, the incongruity that Bulatov's hands below similarly show the results of a nail having been driven through each hand.

Who can fail to appreciate the difference?  If Bulatov's hands have been pierced by nails, then the holes should either be bleeding, or should have a half-centimeter black scab covering each hole, and yet Bulatov's hands exhibit neither bleeding nor scabs.

What we do see on Bulatov's hands are about ten equivalent marks, among which the two that are supposed to be stigmata don't even rank in the top five on either size or darkness.  The two that are supposed to be nail holes, in case you're having trouble guessing, are the ones you come to when you follow the separation between fingers 2 and 3 (where the thumb is 1) along the back of the hand toward the wrist.

Dmytro Bulatov

The better-focussed and more comprehensive photographs taken by Dr Paulus Hradauskas in Lithuania, where Bulatov went for treatment, do show four scabs, each of which, however, seems far smaller than would have been produced by a nail that had been pinning a man to a door, but more importantly show scabs which fail to align on ventral and dorsal surfaces — for the left hand, SCAB DISTANCE, measured in pixels, is 24% greater on the dorsal surface than on the ventral, and for the right hand is 32% greater on the dorsal surface.

Dmytro Bulatov hands, ventral, with SCAB DISTANCES specified Dmytro Bulatov hands, dorsal, with SCAB DISTANCES specified

The composite photos below show each hand somewhat the way Superman might see it, with the dorsal surface visible to his normal vision and at the same time the ventral surface visible to his X-ray vision.

For any who might care to perform a verification — the left-hand composite below was created in Photoshop by starting with the Dorsal Left Hand, then superimposing on it a horizontally-flipped Ventral Left Hand with opacity 50%, then sliding and rotating the latter until its middle finger overlapped the dorsal middle finger as closely as possible.  The right-hand image below followed the analogous procedure for the right hand.

Dmytro Bulatov Left Hand, Dorsal and Ventral views superimposed
Left Hand dorsal and flipped-ventral views superimposed
  Dmytro Bulatov Right Hand, Dorsal and Ventral views superimposed
Right Hand dorsal and flipped-ventral views superimposed

The scabs, then, are so widely separated that they are less likely to have been produced by a hammering of nails through hands than by abrasions barely deep enough to create a small scab, deliberately inflicted to support the crucifixion story, but placed with negligent attention to alignment.

To understand how this particular pattern of results might have been brought about, please observe in the upper pair of photos above, the ones with a big VENTRAL or DORSAL along the top, that fingers appear to be shorter when viewed ventrally than when viewed dorsally.  The same can be observed using your own hands — place one hand palm-up beside the other hand palm-down, and note how stubby the palm-up fingers look compared to the palm-down fingers.  We might call this the Stubby-Fingers Illusion.  It is the Stubby-Fingers Illusion that led Bulatov to place his faked injuries too high on the ventral surfaces — while jabbing his hand a given distance below the seeming base of his fingers, he did not notice that this seeming base was higher on the ventral side of his hands than on the dorsal.

The lenient view of the Bulatov affair is that the core of the story is true, and that the embellishments were introduced mainly by the press, and that Bulatov sometimes contradicted them, or sometimes refused to repeat them, or sometimes repeated them minimally and perfunctorily, and only rarely amplified them.  If the embellishments were today disavowed or retracted, the damage might be negligible, and the unembellished core might continue to deliver much the same message that the embellished version had been delivering.  Perhaps an analogy can be drawn between Dmytro Bulatov and the character played by Eddie Bracken in the incomparable Preston Sturges film, Hail the Conquering Hero.

A darker view is that the embellishments are part of a Kremlin plot to discredit the Opposition by first pushing Bulatov on stage as the Poster Boy of Opposition Suffering, and then by debunking the role he had been suckered into playing, pushing him on stage a second time, but now as the Poster Boy of Opposition Mendacity.  Anyone tempted to help the Opposition with any kind of exaggeration or embellishment should realize that he is in fact hurting the Opposition as much as if he was working for the Kremlin.

The attitude to be recommended is that it is the Putin-Yanukovych Chekists who murder, torture, cheat, steal, and lie, and it is the Opposition which stands against all of these.  It is the Opposition which in particular abjures and stamps out lying, and most particularly stamps out lying wherever it is encountered, even if it is encountered within its own ranks.  Truth is the Opposition's mightiest weapon, and the fantasy-spinners of this world must be kept from decommissioning that weapon.  The Opposition must consider that to go along with what may seem like a little white lie is to take a step toward adopting Cheka tactics, which would give the Ukrainian people reason to fear that their revolution will end the way George Orwell warns that revolutions can end — with the people looking from Oppositionist to Chekist and from Chekist to Oppositionist, and from Oppositionist to Chekist again, but no longer being able to tell which is which.


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