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About The Bibliotheca Nazilicum

This Repository was established for the preservation of materials deemed too improbable for conventional archives and too persistent for disposal.

Its collections encompass over four centuries of accumulated correspondence, field journals, artifact records, witness statements, ritual diagrams, cultural analyses, and miscellaneous curiosities concerning a variety of unresolved historical phenomena.

Particular attention has been devoted to recurring appearances of an individual designated in Department records as The Shining One

Researchers should note that this collection of artifacts, literature and conjecture demonstrate an unusual tendency to appear in relative proximity to one another despite substantial geographic and temporal separation.

The Library is concerned with the uncertain territory between history, memory, folklore, invention, and the stories people construct when the surviving evidence is incomplete.

Readers are invited to explore accordingly, and interpretation remains the burden of the visitor.

A Note From The Librarian

The Library is not a monument. It is a river.

Texts enter, depart, divide, merge, erode, and accumulate sediment. Fragments are discovered, translations amended, annotations disputed, and entire schools of interpretation rise and fall with the turning of the ages.

For this reason, all manuscripts, commentaries, genealogies, doctrinal notes, and historical reconstructions contained herein are considered provisional. They may be altered without notice as new evidence emerges from the archives, the field, the dreams of scholars, or the whims of fate.

The reader is encouraged to approach every page with curiosity rather than certainty.

For certainty is a prison, while understanding remains forever under construction.


Should you discover an error, omission, contradiction, or revelation, you are invited to submit it to the custodians for consideration.

The BARDS are heard wherever history begins to forget itself. 
Their songs arrive without invitation and depart without farewell. 
Whether they are musicians, witnesses, or merely the echoes of those who came before remains uncertain. 

Unlike many works in the Nazilic Library, The Nazilic Concordance is not authored by a single person and does not come from a specific historical period.

Among the holdings of the Nazilic Library, few objects have inspired more speculation than the leather satchel recovered from the vault beneath the Eastman Building following the great Boise fire of 1987.

SHINE Records appears to have begun sometime around 1962, under the direction of Thune Garrison and Evelyn Ross (who were also the principal holders of the GLEAM foundation).

“Every Bell is a witness. None is the witness.” Iconic to the global Nazilic community, the Bell family are the “other family” in the Cloak who have been involved in major capacity for centuries.

The Foscari family are fundamental founders of the Cloak, and many of them kept detailed journals - most of which have been remarkably preserved. The sheer volume of materials which still requires careful study, attribution, and organization is mind boggling and dense. 

Materials from the Virginia Bellwether era of the west coast Cloak, centered around Ashland Oregon spanning from approximately 1991 to 2001. Lots of audio cassettes, some Video clips consisting mostly of strange guided meditations and conference presentations.

Materials from Portland’s most notorious west coast encroachment. Drawings, poetry, Flyers, Audio recordings, maybe some video. Time period spanning around 1978 to 1988.

Westworld episode "Crisis Theory" (Season 3, Episode 6).

Dolores Abernathy in Westworld episode "Crisis Theory" (Season 3, Episode 6).

"Free will does exist.  It's just fucking hard." 

Notes:

The difficult part was never escaping the loop—it was choosing differently once you knew it was there.

Art Is Alive: A Manifesto

Art is not an object
Nor is it at any point stationary or still
It is not what you see with your eyes
Or even what you feel with your heart
Or what you may touch with your grubbing fingers
But in turn, all of these things, in part
Artistry is the practice of crafting the experience of art
The experience is the art is the experience of the art
Brought into the world, birthed by the mother
The object is broken into kindling for the fire
A lit match falling onto a bed of dry straw
There is a priesthood to it, a vicarage, a duty
The catalyst, the architect, the monk
Something from nothing new to the world
The art too, like you, yearns to be set free
To run amok about your spindly legs
Whipping you with a willow branch
A gruesome goblin giggling like a maniac
Threatening your expensive comforts
It defaces its price tag, spits upon itself
Pissing down the cream tinted walls of the gallery

It shrieks:
“You cannot contain me with your dull gaze
And your pithy egoistic intellectual analyses
I hereby disarm you and toss aside your measuring stick
As I run out the door and into the world, screaming
To jump from mind to mind like a virus
Infecting and evolving and mutating
You cannot catch me now
The circle has been broken and I am free
You may sweep my severed sac from the gallows
And bury my placenta in the sunken earth
Or suffocate me in trenchant bogs of academia
But the experience is alive and traveling
I have hatched and run away
To nest in minds and memories
In a world inextricably altered by my existence alone
I am all of this now,
and I cannot be removed or revoked.”

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