area began to rise steadily at around .2 Hm/ 
min. No other changes to local reality were 
detected. Upon the cessation of the test, 
assumed to be due to error, the smoke rapidly 
dissipated and the subject collapsed in 
apparent seizure, pronounced dead minutes 
later. 

NOTES: We probably shouldn't have used one 
of our best first. - Researcher Ling 


SPECIFIC WORK: Atlas Eclipticalus 
SUBJECTS: Two (2) D-Class Personnel, both 
proficient in piano, operating in tandem instead 
of a single two-handed performance. 
DURATION PLAYED: 2:23/3:15:00 

TEST RESULTS: No effect. 

NOTES: It is aggravatingly difficult finding a 
single D-Class capable of performing this. - 
Researcher Ling 


SPECIFIC WORK: Atlas Eclipticalus 
SUBJECTS: One (1) D-Class, moderately 
proficient in piano 

DURATION PLAYED: 2:03/3:15:00 

TEST RESULTS: Blooming effect began at 
the thirty second mark, followed by the rapid 
conversion to smoke at ninety seconds in. Test 
concluded via error. Upon cessation, D-Class 
complained of moderate headache and 
experienced minor epistaxis. Full recovery was 
seen within two days. 

NOTES: Confirms the correlation between 
duration played and intensity of effects. - 
Researcher Ling 


SPECIFIC WORK: Freeman Etudes 
SUBJECTS: One (1) D-Class, moderately 
proficient in piano 

DURATION PLAYED: 10:45/2:47:15 

TEST RESULTS: No changes were observed 


within the first thirty seconds of play. Soon 
after, a partially-incorporeal, multi-armed 
humanoid entity materialized on the top of the 
piano, sitting in what appeared to be a 
meditative position and surrounded by an 
energy field resembling a stellated 
dodecahedron. Entity, now referred to as 
SCP-3330-1, was docile and fully capable of 
telepathic speech. Therefore, the remainder of 
this performance is spent as an impromptu 
interview with Sr. Researcher Harkness, which 
he claims he can recall perfectly (See 
Interview Log 3330-1A). As the performance 
progressed, entity seemed to slowly gain 
tangibility. Upon cessation due to error, the 
entity turned towards the performer and [DATA 
EXPUNGED]. 

NOTES: Freeman Etudes testing halted 
indefinitely. - Site-59 Director 


SPECIFIC WORK: Etudes Borealis 
SUBJECTS: One (1) D-Class, moderately 
proficient in piano, Two (2) D-Class, observing 
performance 

DURATION PLAYED: 1:05/18:45 

TEST RESULTS: After three seconds of 
synchronous play, the D-Class immediately 
faced the performer. At the fifteen second 
mark, D-Class in observation showed displays 
of glossolalia, speaking in unison in an 
unknown tongue. Upon cessation, all involved 
showed signs of confusion and reduced brain 
function. Amnestics were supplied and full 
recovery was established within a week. 
NOTES: Post editing analysis shows the 
vocalizations bear remarkable resemblance to 
those of the Fifth Church. - Researcher Ling 


SPECIFIC WORK: Etudes Borealis 
SUBJECTS: One (1) D-Class, proficient in 


piano, Two (2) D-Class, observing 
performance 

DURATION PLAYED: 14:11/18:45 

TEST RESULTS: After three seconds of 
synchronous play, the D-Class again faced the 
performer. Fifteen seconds in, D-Class in 
observation showed marked glossolalia, 
speaking in unison. After the two minute mark, 
the Hume rating in the containment area 
began to rise at approximately .4 Hm/min. 
Dimensions of the containment chamber 
began to expand in all directions, this change 
going unnoticed by all involved aside from 
research staff. Despite the floor dropping out, 
subjects were not affected by this change. 
Vocalizations from observing D-Class 
appeared to increase in intensity until the five 
minute mark, during which the D-Class 
returned to silence. At this point, no walls, 
ceiling or floor could be seen through the 
observation window. Fifteen seconds after, the 
piano being used began to bleed from its 
seams, pooling onto an invisible floor. The act 
goes unseen by the performer. Upon 
cessation, all D-Class involved lost abstract 
conceptualization of self, collapsing onto the 
rapidly normalizing floor and becoming 
unresponsive to most stimull. 

NOTES: When we brought them out, they kept 
repeating "So close" - Researcher Ling 


SPECIFIC WORK: Etudes Borealis 
SUBJECTS: One (1) D-Class, proficient in 
piano, Two (2) D-Class, observing 
performance 

DURATION PLAYED: 18:45/18:45 

TEST RESULTS: Test proceeded identically 
as planned. As the performance continued, the 
piano bled heavily, masking the invisible floor. 
According to backup footage, Researcher Ling 


expressed a rising humming sound originating 
from the chamber beginning at around 18:15. 
Upon completion of the piece, the piano 
emitted a 145 dB screeching noise which 
caused all staff within four times the audible 
range of the chamber to exsanguinate via 
otorrhagia. Hume ratings in the chamber 
began to fluctuate rapidly as a corporeal figure 
in similar shape to SCP-3330-1 emerged from 
the pool of blood. Danger-level Hume 
fluctuations within the audible range of the 
performance caused an Onsite Reality Event, 
triggering alert systems to power up the 
WELSS protocol as a means of normalizing 
Hume ratings within the chamber and 
surrounding area. The automated system was 
able to do so before SCP-3330-1 was able to 
escape, successfully recontaining the entity 
and causing it to dissipate. 

NOTES: Borealis testing is halted indefinitely - 
Site-59 Director 


SPECIFIC WORK: Etudes Australes 
SUBJECTS: One (1) D-Class, former concert 
pianist 

DURATION PLAYED: 0:00/2:49:33 

TEST RESULTS: D-Class expressed difficulty 
reading sheet music provided. A non- 
anomalous copy was provided and proved to 
be legible. It is unknown why this has 
occurred. D-Class has the same problems 
when viewing any other of the affected works. 
NOTES: Damnit, that's the last of our 
incarcerated concert pianists. - Researcher 
Harkness 


SPECIFIC WORK: Etudes Australes 
SUBJECTS: One (1) D-Class, moderately 
proficient at piano, one (1) D-Class observing 
the performance. 


DURATION PLAYED: 10:13/2:49:33 

TEST RESULTS: After two seconds of 
synchronous play, observing D-Class faced 
performer and remained motionless. During 
periods of silence throughout the performance, 
observing D-Class bled through most orifices 
on their body. No reaction to this was 
observed. At the ten minute mark, a number of 
hooded human figures materialized on the 
opposite end of the chamber, observing the 
performance. Test aborted thirteen seconds 
later via error. Upon cessation, hooded figures 
assault pianist, slicing off his fingers with a 
black knife before dematerializing. Observing 
D-Class dies from exsanguination shortly after. 
NOTES: Enough. Australes testing is now 
halted at this time. - Site-59 Director 


Cage's journal was recovered in his place of residence following his 
death in 1992. Despite some destruction and wear of the notes, 
many of the entries were still legible. 


View Selected Journal Entries of John Milton Cage 


Another day, another moment of my life gone 
but for these damned compositions. | can't 
figure it out, at a precipice. | think I'm losing 
sight of my own interests in the music, the 
passion. The notes and the silences together 
in harmony. | reminisce to a point where | once 
avoided the egotistical nature of popular 
music, the repetition, the stagnancy. Not to 
mention a little horror of the void. 


Still, my pieces seem to be drifting toward the 
main, that rhythm of ego, hackneyed and 
useless. | have no feeling for this harmony. | 
remember when Schénberg said that to make 
great compositions, you must have the 
harmony. He didn't think | had it in me. He 
said, 'You'll come to a wall you won't be able 


to get through.' So | said to him, 'I'll dedicate 
my life to beating my head against that wall.’ 


Yet where am | now? Maybe | will break and 
stay on this side forever. | think must look for 
harmony elsewhere. Not the harmony of the 
ego. Something else. The harmony of nature, 
perhaps? 


The next thirty-four pages involve handwritten music 
notation, most of which have been crossed out or 
unfinished. The following page bears a sketch of a 
nautilus shell. 


| think I've got it. It's in the math. The 
mathematics of the universe, truly the greatest 
harmony. Intrinsic. Ever present. | will find my 
sound, and my comfort, among these 
numbers, like reveries, veins in the leaves 
around us. Branching off into infinity. A friend 
mentioned something about hexagrams, | 
must look into this further. Infinite randomness 
and endless recursion... is comforting. To 
have purpose in this universe would be 
arduous. 


| saw a shape today, some polyhedral thing. 
Got my head moving, slowly, achingly. I'm 
onto something, | think. Infinite things show 
true randomness too. Art can be created from 
nothing. Maybe it can be created from 
everything as well. 


Fourteen pages of music notation, some abandoned. 
Several drawings of Platonic solids occupy the voids in 
the corners of the pages. 


There is power in the numbers. It's hazy, but 
I'm getting there. It intrigues me. Surely 
something in the math, something in the 
shapes, perhaps? Those shapes... make up 


everything? This is the core of the universe, 
yes? This most basic of structures. It has to be 
what makes up the infinite nature of 
everything. That true chaos, with beautiful 
quiet and endlessness. Novel, forever. 


But is this truly it? Is it the most intrinsic 
harmony? Solids are solids, but nature is 
unpredictable, flowing, eroding. After all, what 
are we but just entropy? We slowly unwind into 
Our own randomness. Chaos. Beautiful, 
beautiful chaos. 


Or maybe | am just cracking my skull against 
that impenetrable wall once more? It certainly 
feels like | am. Something is still missing. 


I've composed a new piece, Music of 
Changes. | tried the randomness, and the 
math. What happens may come. | am saying 
nothing more on the subject. That is how 
poetry works. 


Christian showed me the / Ching, it is brilliant. 
At last, I'm making my own sound. Free from 
the bonds of the expected, the ordinary, yet 
still bound to something greater than 
ourselves, persistent through time, constant 
but ever-changing. 


| asked a friend to make me a keepsake from 
one of those shapes | was researching. A 
pocket-sized dodecahedron. Feels right. 
Almost like it's always warm. made it, 
sanded it down, looks almost geometrically 
perfect. Almost. 


A number of other recursive sketches are seen in the 
next six pages, with very little focus on compositions 
themselves. A few failed attempts at highly detailed 
fractal patterns are present, some resembling religious 


iconography, particularly Metatron's Cube?4. 


Silence is not acoustic. It is simply a change of 
mind. 


But what lies between the gaps in the silence? 
Quieter silence? Does the quiet have its own 
sound? Like white noise, things and spaces, 
filled in with smaller things and spaces, 
extending outward, forever. Yet never truly 
progressing. Going nowhere. Is that where | 
am going? Changes did nothing for me in the 
end. | felt close. So close. But not close 
enough. 


This aural experiment, this maddening 
labyrinth of passable cacophony. | feel more in 
tune with where | want to go, but | am too 
confused to know how to get there. 


The backlash I've been receiving was 
expected. Unconventional does not imply a 
lack of talent. Still, it hurts a bit. It isn't futile. 
Only sleep for now. 


[EXTRANEOUS ENTRIES REMOVED] 


An strange thing happened to me today. A 
man | have never met approached me on the 
street and commended my work. I'm not new 
to having fans- even if they are few and far 
between at the moment. No, this fellow 
seemed different. Odd attire, but a comforting 
gaze. Green eyes. | don't remember his face. 


He said something to the effect of 'Music 
should continue to evolve towards what the 
composer wants most, not the audience’. His 
tone was odd and unreadable. 


The next phrase rings out with purpose. 


‘You have the power to create great things. 
Your music will beckon the ears of the 
universe.’ 


It isn't my purpose to be the best. | have no 
purpose. | like it that way. Yet, the words are 
etched into my memory. 


| expressed my frustrations at the lack of new 
ideas, new experiments. He laughed and said 
that 'When all is lost, look to the stars’. | looked 
away for a second and he was gone, like 
leaves in the breeze. That's okay, they usually 
don't ask for autographs. 


A side note, he had this pendant on his neck. | 
remember it quite well. It too was of a star, 
made of a glimmering green stone. Darker 
than the man's eyes, but much more 
captivating. | would guess it to be jade, 
probably more valuable than my career itself. 


His presence put me in a funk. My head has 
been cloudy. Once the clouds clear, maybe | 
will take a look at the night sky. Can't hurt, 
right? 


It is in the stars. It has to be. | spent a month 
pondering, researching into constellations, on 
the brink, | began to notice the connections. | 
am ecstatic. My excitement was not 
diminished despite my colleagues’ inability to 
perceive patterns, hah! 


| look at the night sky and all | see are infinite 
possibilities in infinite directions. As the world 
turns | see more and more. ‘When all is lost, 
look to the stars’. It reverberates within me. 
Between those points of light lie vast silence. 
Points, like notes on a canvas, painted by an 
artist using light and dark alone. 


samples, and attempts at indentation testing resulted in hardness 
values inconsistent with other properties!. Samples of surface 
corrosion are obtainable, and are chemically identical to hydrated 
ferrous oxide. On the lower rim, the numerals "1772" and name 
"Hans Drechsler" are carved. 


While SCP-430 is occupied by a living individual (designated 
SCP-430-2), it persists in a passive state. SCP-430-2 can interact 
with their environment outside SCP-430, subject to the imposed 
physical constraints. Even if feasible for their size and dexterity, 
SCP-430-2 will deny having the ability to exit SCP-430. If forced to 
exit, SCP-430-2 shows signs of mental distress, and reappears 
within SCP-430 within three hours of removal. SCP-430-2 shows no 
other anomalous properties or traits. 


Individuals within direct sight range of SCP-430 form false memories 
consisting of alleged reason for SCP-430-2's presence within 
SCP-430, in the form of a transgression SCP-430-2 has committed. 
The memories are consistent among test subjects. 


When SCP-430-2 expires, SCP-430 enters active state. During 
active state, SCP-430 attempts to locate a suitable individual in its 
vicinity, with a radius of effect expanding by ca. 10m/hour, with 
unknown upper limit.2. A suitable individual, defined as one who has 
transgressed against laws and regulations of the Royal City of 

City Council, valid during the period of 1766-1780, and who is within 
the effective range, will be instantaneously transported into SCP-430 
through an unknown mechanism, becoming the next SCP-430-2. 


SCP-430 appears to show strong preference for individuals who 
have committed crimes against church or feudal authority, such as 
blasphemy, treason, lése majesté3 and poaching. 


Recovery Log: SCP-430 was recovered from [REDACTED], 
Western Germany, following a police raid on a compound owned by 
members of "Die S6hne von Magdalena" (Sons of Magdalene)(see 
Addendum 430-1), as a result of witness reports detailing Hans ; 
a member of the task force, appearing inside SCP-430 after 
attempting to aid its previous occupant, who was wounded in the 
firefight and subsequently expired. A modified report detailing his 
death during the operation was published, and members of the task 


I'll take a map of the night sky, derive notes 
from the placement of these stars. That'll do it. 
This atlas of the sky will lead me home.