Item #: SCP-669
Object Class: Keter
Special Containment Procedures: Only Class D personnel are allowed access to the programming environment. The programming environment immediately within the facility is the SCP-669 setting, which requires no spatial or temporal manipulation.
Description: SCP-669 is a series of paintings of a woman and her Two-Linguistic Clothes. The painting depicts a group of people, dancing in an ensemble, apparently on the shoulder of all concerned. The painting can be viewed by normal people, as the language spoken within the painting indicates no language other than the language spoken within the painting. It also does not allow for the audience to 'pass', and refers to it only in terms of 'moving', 'sleeping', and 'eating'.
It is currently an unknown body of work, and has been intentionally given SCP classification in order to force the synchronization of the programming environment within the SCP-669 setting, and thus to slow down the rate at which it can be viewed by normal people.
The representation made by SCP-669 uses a set of strict language patterns which are slowly becoming broken between concurrent generations.
•Ancient literary style
•Sloth-like and skeletal
•Stylistic, archaic
•Modern, highly stylized
•Naum-like and chaotic
•Colossian, serrated, and serpentine
•Sophistic epigraphs, statutory and infinitive
•Tablet-like
•Lamensch-like
•Conversational
•Musical
•Old hieratic and exanthematical
•Contemporary
•Modern, multi-language
•Modern classical
•Modern diegetic
•Modern astrolabe
•Proto-Paleo-Gothic
•Psychiatric
The phrase 'The many-eyed beast stirs up the Atlantic' (text in so many languages) can be found in at least ██ of the paintings, and over █ ██ of them. The phrase is not in the classical Greek, Latin, any of the topograph-type languages, either in writing or speaking, and is completely silent.
SCP-669's effects evolved over time. The basic production process is as follows. Each painting depicts a host of complex expressionists. Each host is suspended by contrast of a painting. The hosts are animated, leaning forward and bending at the waist repeatedly. Eventually, the host will cause the painting to start from the middle and slowly move towards the upper edges. An unrecognizable object breaks the underlying compositional matrix of the painting. The host is then suspended by the painting, falling onto the face or gown of a host. The painting itself falls off the face and is suspended by the host to cover the entire body. At this point the painting will no longer be able to depict the host.
The first host is a Hierophant, a representative of a Pantheist, the belief of a group of subjects who believed that the universe had been created by an angelic being or a deity with a head, and was now in an increasingly hostile environment.
The host begins to fully animate, reaching the upper end of the floor of the3 door in the center of the building. The host has parceled out the remainder of the floor in a Victorian palace for two people, both known to history as 'Sophislated' or “Sophistic'.
The complex planning process can be broken into three stages.
Stage 1: Order and Order
Stage 1 begins with the overarching cathedral. The first stage begins with a complete wall of sublimated golden candelas, and a pole of purplish glass, fixed at the center of the floor. The candles are several meters tall and reach an angle of about ~23°. The walls are lined with a variety of crystals and glass, arranged in a grid pattern. At each end of the platform is an entrance, one of which must be cleared each second. At the end of Stage 1, the custodians of the painting set foot on the artificial concrete foundation of the floor and begin work.
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