On July 19^th, Ynet announced Israeli artificial intelligence startup Decart “has unveiled a groundbreaking real-time video transformation technology, setting a new benchmark in the fast-evolving field of generative media”, following “months of anticipation and extensive fundraising”. Dubbed Mirage, it “allows continuous transformation of live or pre-recorded video content without interruption, maintaining high quality and impressive stability throughout”. The obvious suspicion arises that the tech’s true purpose is to concoct convincing, fabricated kompromat on targets, with no risk of Zionist intelligence being publicly exposed.

Such an interpretation isn’t immediately obvious from the description of Mirage offered by Ynet. The outlet states the tech “transforms the very definition of video - from a static, pre-recorded format to a living, flexible, and interactive medium”. This reportedly opens up “new business models for content creators, brands, and platforms”. For example, “broadcasters and advertisers” could “generate multiple versions of a single piece of content during a live transmission…[tailoring] content in real-time to different audience segments.”

Yet, buried in the Ynet report is reference to how Decart was forged in 2023 by Dean Leitersdorf and Moshe Shalev, while they were serving in the Zionist Occupation Forces’ fearsome Unit 8200. The shadowy spying cell conducts clandestine operations, signals intelligence collection, code decryption, counterintelligence, cyberwarfare, and surveillance. Many of its veterans have established major tech companies, frequently operating in Silicon Valley. Decart generated enormous early interest among investors, raising $53 million just two months after official launch, and securing a $500 million valuation.

Among those investors is Zeev Ventures, founded by Israeli-American Oren Zeev. Its other investments include Israeli firm Riverside, an audio and video recording service. Its staff is riddled with ZOF veterans. Moreover, Decart has thoroughly impressed Technion - the Israel Institute of Technology. The pair have announced a joint AI research center, “to strengthen academic research, knowledge development, and technological innovation”. Under its auspices, the Institute’s elite honours program will be renamed the “Technion-Decart Honors Program”.

Technion has an extensive and deplorable history of direct complicity in the Zionist entity’s erasure of the Palestinian people. The Institute maintains formal partnerships with multiple Israeli weapons manufacturers and security and intelligence firms, including infamous Elbit Systems. Its assorted faculties have helped innovate numerous monstrous resources, such as remote­ control capabilities for the Caterpillar D­9 armored bulldozer, used by Tel Aviv to demolish Palestinian homes. Benefits such as academic credits and scholarships are specifically awarded to Institute students based on their ZOF service.

Markedly, numerous Technion alumni - among them individuals who previously served in Unit 8200 - have gone on to work for Toka, which has patented technology capable of locating security cameras and webcams, hacking into them, then altering their live feeds without trace. Toka was founded by former Israeli premier Ehud Barak - a close associate of Jeffrey Epstein. Given ample indications Epstein was collating sexual blackmail material on powerful figures for intelligence agencies, comments made by Mirage cofounder Dean Leitersdorf to Ynet take on a chilling character:

“Mirage marks the dawn of a new era in video. Content is no longer fixed or closed - it’s alive, adaptive and created in real time in collaboration with the user. Anyone can become a creator and give visual form to their imagination. This opens up endless possibilities for creation, communication and a new relationship between people and technology.”

‘Video Platforms’

A January Ynet report sheds considerable further light on the significance of Unit 8200 to Decart’s founding, and its chiefs’ intelligence backgrounds. Leitersdorf, described as the company’s “central figure” who “grew up immersed in the world of high-tech and business”, hails from “Israel’s old-money aristocracy”. His close relatives are all major players in the entity’s finance and ‘defence’ sectors. Moreover, Leitersdorf completed his bachelor’s, master’s, and doctoral degrees at Technion, in just five-and-a-half years, all while serving in the ZOF. He explained:

“I’d work from 9 am to 7 pm in Unit 8200, and then squeeze in a few hours of studying before bed.”

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Moshe Shalev, a 14-year Unit 8200 veteran, told Ynet that towards the end of his ZOF service he “wanted to explore the world of research”, and crossed paths with Leitersdorf. When they started chatting, Shalev realised he’d “found someone who could tell me what was possible and what wasn’t”, and “knew all the technologies of 8200”. He described the experience as “mind-blowing”, and they began meeting regularly, discussing how to apply their experiences of working in the Unit to the commercial sphere.

So it was in late 2024, Decart released a “cute demo” dubbed Oasis, demonstrating the company’s AI capabilities. The app lets users explore an ever-changing virtual environment, which is influenced in real-time based on their keystrokes and mouse movement, purely via artificial intelligence. Leitersdorf claims, “we thought a few people might play with it…[but] we were stunned by how fast it blew up”. Oasis went viral across multiple platforms, exceeding one million users in just three days.

While Mirage was unmentioned in the January Ynet report, Leitersdorf talked a big game of Decart’s ambitions to create a suite of products that would attract up to a billion users, which “doesn’t solve a single problem but solves thousands of problems”. Still, “the ability to turn imagination into video” loomed large in the company’s stated vision, and “to that end”, the firm is “establishing one of the most advanced AI labs in the world, recruiting the best minds Israeli tech has to offer”:

“Decart has a bold and ambitious goal: to reinvent AI from the ground up and become the technological backbone for anyone in the world who wishes to use it.”

In July, Ynet suggested Decart’s real-time video editing software would be of enormous utility on “social platforms”, allowing users to use Mirage “to change their appearance in real time, create clips or livestream with custom visual effects - all without relying on professional editing tools”. The technology was said to support image generation “at 20 frames per second with live-broadcast-quality resolution”, and “future updates are expected to support Full HD and even 4K, the standard for most video platforms and televisions.”

The obvious interest of such tech to intelligence agencies was unmentioned. This was despite Mirage evidently being spawned directly from the founders’ experience toiling in Unit 8200. The enormous mainstream hype elicited by the tool, launched by hitherto unknown figures, and vast sums of money pumped into the fledgling company instantly upon its emergence, may also be illuminating. For every dollar invested in a startup by the CIA’s little-known venture capital wing In-Q-Tel, the private sector injects $18.

‘Sex Trafficking’

Intelligence services the world over are notorious for using sexual blackmail to force targets into doing their bidding. Moreover, agencies, including the CI,A have extensive histories of forging sex tapes and compromising photos of “enemy” leaders to discredit them. Witnesses and victims alike have claimed Jeffrey Epstein’s numerous lavish residences - purchased with uncertain wealth - were equipped with hidden cameras and microphones, used to record sexual assaults and rapes by countless politicians and high-profile figures he counted as close friends.

Following Epstein’s arrest in July 2019 for sex trafficking of minors, veteran reporter on intelligence affairs Eric Margolis came forward to recount his attendance at a grand lunch convened in the shadowy financier’s New York mansion during the late 1990s, at which all attendees “sang the praises of Israel”. Immediately upon arrival, a butler invited him to enjoy “an intimate massage” courtesy of a “pretty young girl”. The offer “seemed so out of place and weird to me that I swiftly declined”, Margolis reported:

“More important than indelicacy, as an old observer of intelligence affairs, to me this offer reeked of ye old honey trap, a tactic to ensnare and blackmail people…A discreet room with massage table, lubricants and, no doubt, cameras stood ready off the main lobby.” 

Margolis subsequently told mainstream media outlets he didn’t “believe for a moment” Epstein committed suicide, and it was “more likely he was killed”, as “he was a man who knew too much” - “the old pirate line of ‘dead men tell no tales’ certainly applied to Epstein”. Today, controversy around Epstein’s death endures. Polls indicate just 16% of US citizens believe he took his own life in prison, with almost 90% supporting disclosure of all information related to Epstein’s prosecution. 

Donald Trump's reneging on his promises to unseal classified documents related to Epstein’s crimes has prompted mass public backlash, even among the President’s most fervent supporters. Meanwhile, US lawmakers are engaged in a bipartisan push to compel Washington to release all federally-gathered evidence identifying those “involved in the sex trafficking that Epstein led.” Despite operating with impunity for decades, and being protected from legal repercussions as he “belonged to intelligence”, Epstein was eventually caught, raising the risk of his targets and paymasters being publicly exposed.

The real-time, AI-powered video creation and editing technology honed by Toka and Decart removes the troublesome human elements inherent in old-fashioned intelligence agency “honey traps”. We are thus left to ponder whether these firms are being enthusiastically promoted because they “solve the problem” of sexual blackmail requiring real-life individuals to oversee such operations, and targets to take the bait. The “possibilities” of such technologies to transform users’ “imagination” into realistic video content are, after all, avowedly “endless”.