Samizdat

"Samizdat: Publishing the Forbidden."

Tag: Wind

Cicada Files: Z 3301 et al

Cicada TS Obese Suitcase Undated Sept 2019 Defango Gabe Hoffman Interview

Thomas Andrew Schoenberger (b. June 1, 1960) is mired in legal disputes with Manuel Chavez III, Jesse Davis and Gabe Hoffman, and reportedly shuffles between motels to evade service of court orders. Schoenberger was tracked to the Monterey Park Motel 6 in Northridge (Los Angeles) on September 12, 2019 by Chronic0ps. Life on the run is taking its toll on Mr. Schoenberger, 59 years old, with an extensive criminal record. This photo was reportedly taken by Mr. Schoenberger’s former landlady, Ms. Linda Barrett, in September, 2019, but an accidental self-portrait by Mr. Schoenberger that I post at the end of this article confirms that this is an accurate representation. Both photos depict a clinically obese male with slovenly hair, wearing the same black shirt in pictures taken on different days. Mr. Schoenberger is notoriously shy, he claims because Mr. Chavez put out a Bitcoin bounty on him: in truth, Mr. Schoenberger is vain, and ashamed of his appearance. He claims that this photo was Photoshopped.

Prologue

Researching QAnon led me to Cicada 3301, a phenomenon that Rolling Stone called “the Web’s Deepest Mystery.” (David Kushner, “Cicada: Solving the Web’s Deepest Mystery,” Rolling Stone, January 15, 2015). I consequently interact with felons, sociopaths, hackers and cypherpunks, anons, denizens of the ‘chans, the Twitter-verse, YouTube and the dark web.

Wielding anonymity and encryption, clandestinity and plausible deniability, my subjects manipulate sock accounts, ‘bots, and Search Engine Optimization (SEO), waging information campaigns across cyberspace. As Cicada preceded Q, some of its members were involved in both. As melodramatic as all this seems, I am not exaggerating, as you shall see. Read the rest of this entry »

Magicians Were Poets, and Poets Were Magicians

” … The numerous incantations which were inscribed on clay tablets and treasured in libraries, do not throw much light on the progress of medical knowledge, for the genuine folk cures were regarded as of secondary importance, and were not as a rule recorded.

But these metrical compositions are of special interest, in so far as they indicate how poetry originated and achieved widespread popularity among ancient peoples. Like the religious dance, the earliest poems were used for magical purposes.

They were composed in the first place by men and women who were supposed to be inspired in the literal sense; that is, possessed by spirits. Primitive man associated “spirit” with “breath,” which was the “air of life,” and identical with wind.

The poetical magician drew in a “spirit,” and thus received inspiration, as he stood on some sacred spot on the mountain summit, amidst forest solitudes, beside a’ whispering stream, or on the sounding shore. …

Or, perhaps, the bard received inspiration by drinking magic water from the fountain called Hippocrene, or the skaldic mead which dripped from the moon.

The ancient poet did not sing for the mere love of singing: he knew nothing about “Art for Art’s sake.” His object in singing appears to have been intensely practical. The world was inhabited by countless hordes of spirits, which were believed to be ever exercising themselves to influence mankind.

The spirits caused suffering; they slew victims; they brought misfortune; they were also the source of good or “luck.” Man regarded spirits emotionally; he conjured them with emotion; he warded off their attacks with emotion; and his emotions were given rhythmical expression by means of metrical magical charms.

Poetic imagery had originally a magical significance; if the ocean was compared to a dragon, it was because it was supposed to be inhabited by a storm-causing dragon; the wind whispered because a spirit whispered in it.

Love lyrics were charms to compel the love god to wound or possess a maiden’s heart–to fill it, as an Indian charm sets forth, with “the yearning of the Apsaras (fairies);” satires conjured up evil spirits to injure a victim; and heroic narratives chanted at graves were statements made to the god of battle, so that he might award the mighty dead by transporting him to the Valhal of Odin or Swarga of Indra.

Similarly, music had magical origin as an imitation of the voices of spirits–of the piping birds who were “Fates,” of the wind high and low, of the thunder roll, of the bellowing sea. So the god Pan piped on his reed bird-like notes, Indra blew his thunder horn, Thor used his hammer like a drumstick, Neptune imitated on his “wreathed horn” the voice of the deep, the Celtic oak god Dagda twanged his windy wooden harp, and Angus, the Celtic god of spring and love, came through budding forest ways with a silvern harp which had strings of gold, echoing the tuneful birds, the purling streams, the whispering winds, and the rustling of scented fir and blossoming thorn.

Modern-day poets and singers, who voice their moods and cast the spell of their moods over readers and audiences, are the representatives of ancient magicians who believed that moods were caused by the spirits which possessed them–the rhythmical wind spirits, those harpers of the forest and songsters of ocean.”

Donald A. Mackenzie, Myths of Babylonia and Assyria, 1915.

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