This is the type of commentary I enjoy. But you're tilting at windmills if you think presentation of these facts will move the needle for some of these low IQ wastes of space.
Peter Daszak, the head of EcoHealth Alliance, the NGO who are chiefly responsible for funding the research that may have given rise to SARS-CoV-2, is an obvious
anti-humanist VHEMT wacko, if you just read his writings. EcoHealth Alliance bill themselves as a conservationist outfit. They were actually previously known as the Wildlife Preservation Trust International and were founded back in the seventies by Gerald Durrell with financial assistance from Margaret fucking Rockefeller.
I've attached two of his "papers" as PDFs, the latter of which I grabbed from Sci-Hub. He's used his own NGO essentially as a vanity publisher for his art criticism, which is the most psychotic shit you will ever read:
link.springer.com
In Bruegel’s painting of The Fall of the Rebel Angels we are witness to a tumbling maelstrom of falling rebel angels outcast from Heaven. Within the fray stands St. Michael in gilded armor, and his angels-at-arms serenely in pale albs, and almost as if threshing grain, hewing and striking down this inconceivable rout. The main focus of the image and what draws the eye is the extraordinarily creative mélange of creatures; mixtures of human, animal, plant, and inanimate objects slashing and stabbing as they fall from the great battlefields in the skies. They pour down in a vast column that stretches infinitely from the luminous sun; they fall from the light to the darkness. The column of falling angels is so numerous that it widens to encompass the whole lower canvas as it approaches the viewer. With a start, then, we realize that Bruegel intends that we too are in the thick of this. Will we succumb to the multitudinous horde? Are we to be cast downward into chthonic chaos represented here by the heaped up gibbering phantasmagory against which we rail and struggle?
Clearly Bruegel intended for us to identify with St. Michael and his comrades. The classic imagery of religious battles between humanity and evil, is straightforward fodder for us to digest, but is there another metaphor here? If the fallen angels represent the evil mirror image of St. Michael and his cohort, so they also represent the mirror image of our own genetic kind—pathogenic organisms which are otherwise just like us, but have fallen from grace through an evolutionary (not spiritual) pathway that takes them to a netherworld where they can feed only on our genes, our cells, our flesh. On closer scrutiny, we can see that Bruegel has depicted the Natural World—specifically chosen it as proxy for the fallen angels—for both its fascinating wonder and horror. Thus may we surmise that nature was, in Bruegel’s mind, itself as strange, wondrous, and horrific as the fallen angels that he depicted in the juxtaposed forms of otherwise anatomically correct fishes, bats, and frogs? Bruegel was an urban man and precisely because of his lack of intimate knowledge of Nature, he was likely able to observe it with such precision. No doubt he was influenced during time spent in France & Italy by that unique Renaissance creation, the scientific method, or means to learn about phenomena via empirical evidence. Today, we are not unlike Bruegel as we view the wondrously diverse animals and plants that represent nature, peering beneath this palimpsest the pathogens that threaten to plague us? AIDS, SARS, Malaria, West Nile Virus, and Avian Influenza are but a few of these fallen angels that have burst from out of the Natural world to wreck havoc causing countless deaths and economic losses.
In Bruegel’s curious chimeras, we find yet another analogy—for the genetic recombination, mutation and evolution that negative-stranded RNA viruses in particular undergo as they shift, morph and adapt to their changing habitat—animal cells. Here St. Michael is at risk of more than just the prodding of a sword. Here he is at the mercy of the tooth and nail of glycoproteins sharpened and honed to strike with precision through the gaps in his golden armor. As Pulliam shows in this issue of EcoHealth, this battle continues in reality as human encroachment into wildlife habitat, and the increasing globalization of agriculture, trade and travel bring us into dramatic juxtaposition with a seemingly infinite number and variety of viral angels hosted by the wildlife we contact and exploit. In this prescient scene, Bruegel reminds us that our battle against novel zoonotic pathogens is far from over: They lie in wait in a multitude of surely the same overwhelming dimensions as Bruegel's column of descending angels. Perhaps he reminds us also that it is the nature of our interactions with wildlife—here represented as an evil entity for humanity to vanquish—which cause new zoonoses to emerge in the first place. Perhaps the EcoHealth view is that if we tread carefully, we might avoid those nasty little pincers waiting to nip!
Writing an essay about a piece of art is a bit like investigating a murder scene. The artist leaves us clues as to their intent—hints of greater meaning that are necessarily covered with multiple layers of deception and trickery. As the artist produces each opus, these clues add together to form the theme of the artist’s life work, just as a serial killer lays out a pattern, knowingly or unwittingly, at the scenes of each of their crimes. These clues may be explicit: Picasso’s gradual breakdown of the face into a series of abstract shapes; Rousseau’s juxtaposition of nature with modern life to reflect our primordial fear of nature and human origins, culminating in the magnificent The Dream—his last painting. They may be subtle and hidden; a challenge for the viewer to decipher, or a test of our intellectual capacity to identify what the artist has hidden for us. So let us use our detective skills to interpret this issue’s cover art, and find out what Minas Halaj’s ‘‘Banker’’ is telling us about the artist’s motivation and goals. ‘‘Banker’’ portrays a financial worker from the Industrial Age, in a thick woolen suit, whose face is covered and consumed by a beautiful bouquet of chrysanthemums. Drawing parallels with Rene Magritte’s The Great War (La Grande Guerre) and other works, Halaj juxtaposes humanity with nature. But there is a subtle difference in texture and tone between Halaj and Magritte. Where Magritte works with smooth, velvety concrete and buffed-up bowler hats, Halaj builds painstakingly intricate, multi-layered, and complex collages. This depth, the dull brown and gray washed background, and the occasional spatter of red paint and black ink reminds me of the post-industrial decay that I would see so often in the North of England in the 1970s. Like the fireweed growing in a disused factory, the chrysanthemum in ‘‘Banker’’ dominates the topography, sprouting from its victim with vigor. The banker is clearly long-since deceased, degrading into the fragmented parchment—a former will or financial contract perhaps—and both symbols of a past era. Thus, Halaj plays on themes of life and death, happiness and mourning.
‘‘Banker’’ reminds us of our relationship with nature, and the competition between our desire to push forwards as a species and dominate for economic gain, versus the need of biodiversity in the landscape around. Like the flower, bankers are a basic component in complex systems—in this case financial markets. They create value by connecting people in need of resources to those with excess, and promoting consumption and well-being across economic cycles. If they take on too much risk, they can destroy value and bring populations to the point of war and famine. While flowers symbolize happiness, they also create value, as does all biodiversity, through providing ecosystem services within their complex relationships. Viewed through our detective lens, Halaj’s painting has clear motive, a smoking gun and a trail of clues for us to follow. The cause of death is suffocation, the airways closed by the plants bulging tendrils. The crime is one of passion and revenge. The banker’s motive is greed—his head lying on a contract to log and grow crops on a patch of tropical forest in one of the colonies. And the murderer……Well, dear colleagues, I leave that to you. Read on, and all shall eventually become clear.
Based on that shit, how deep do you think his ecology is?
Keep in mind, this crazy shit was written by a guy whose NGO is regularly awarded millions of dollars by USAID and In-Q-Tel (
that is, the CIA) to sample lethal bat viruses, who also happens to be a friend of a friend of a convicted child sex trafficker.
Watch the whole hour and fourteen minutes of this, and save and archive it as much as you can:
It's a bit large to upload here. In summary, there are many disturbing connections between the Epstein gang and people involved in vaccine development and life extension.
It's true. People found his accounts and he tried to DFE, though he did later clarify that he's not turned on by ponies and only wanks to them for the purposes of edging.
There was another incident early in the original thread
that I can't find with search at the moment, where he posted a link to a
Google Drive or something similar Microsoft Word document and that's how people got his name and photos.
That wasn't even the wildest shit that happened. Remember when Michael Coudrey, a.k.a. "Mike Tokes" (a friend of
Baked Alaska) made a thread on Twitter about my frantic early posts about COVID-19 pathology, and then Donald Trump retweeted it?
The comments are a wild-ass time capsule. Note how many people in the replies to the thread were against COVID-19 being portrayed as dangerous, simply because Mike Tokes said so. At this point, in March 2020, we were still in the "Hug a Chinaman" phase. It wasn't until April through June, 2020, that all of these people instantly flip-flopped and screamed for Fauci to lock them down even harder.
When Michael Coudrey initially contacted me, I had no idea who he was. I didn't know he was "Mike Tokes", or a friend of Baked Alaska, or any of that. I only found that out like a few days later. He presented himself as a "rogue biotech investor", and in our DMs back and forth on Twitter in early 2020, he talked at length about how siRNA-based therapies were about to become very valuable and how he was investing in them. Small interfering RNAs work by silencing genes (i.e. telling cells to
stop producing a protein you don't want them to).
This struck me as something that could be used to keep a population docile and obedient like the Jem'Hadar and Ketracel-white from DS9. First, genetically modify people with a gene that codes for a protein that slowly kills them, and then, give them the "antidote", a gene-silencer which they have to take for the rest of their lives to avoid dying, which can be withheld from them for disobedience. You know, like the Spike proteins that Kevin McKernan showed are being continuously produced by plasmid DNA that the mRNA vaccines were heavily contaminated with, and which is now quite possibly integrating into people's chromosomes.
To this day, I still wonder who the fuck told Michael Coudrey that siRNAs were about to become a big deal.
Anyway, he asked me if it was okay for him to make a thread with my research. I said sure, fine, whatever. Then, Trump retweeted him. It came as a bit of a shock, suffice it to say. I think Trump deleted the RT, but you can still see it archived here, under "Everyone who thinks coronavirus is harmless or doesn’t matter should rethink that opinion immediately.":
Most of the claims in the thread, which were lifted wholesale from my profoundly autistic summaries, still hold up to this day (except for COVID-19 causing myocarditis, which it really doesn't; early reports out of China indicated that it did). Technically, up-to-date studies on COVID-19 pathology
do claim that the virus is neurotropic, productively infects astrocytes and microglia, is capable of anterograde and retrograde movement along axons, and that moderate to severe infections may lower someone's IQ by half a standard deviation by aging the brain a decade or two.
Back in early 2020, I filmed myself shouting "Neurotrawpic brain-eating virus!" at the camera through a megaphone. Back then, it sounded alarmist and wacky. Now, it's basically treated as common knowledge among COVID researchers.
At first, I was panicked about the virus, but around late 2020, I started noticing how much of a lying, perjuring jackass Fauci was. And now, everyone knows all about it in excruciating detail:
The reason why the DHS and that piece of shit Mayorkas are so desperate to control sources of "mis-, dis-, and malinformation" is because they know exactly how bad all of this shit looks. The DHS actually solicited fucking Peter Daszak and EcoHealth Alliance years ago to help them form a network to propagandize people about biothreats.
A $2mln grant for biosurveillance intel collection
gillesdemaneuf.medium.com
WASHINGTON, D.C. – Following the release of a House Intelligence Committee report stating that "significant circumstantial evidence" supports the lab leak hypothesis, Rep. Gallagher today urged members of Congress and members of the media to more closely scrutinize additional US funding streams...
gallagher.house.gov
COVID-19 is underpinned by the shadiest dark money network bullshit you will ever see. This is why the media and these stupid Congressional hearings keep people focused on whether or not the virus came from a lab or a wet market. The real answer is that it doesn't actually matter where the virus came from or what its genomic attributes are, since the whole thing was surrounded by a framework of deliberate fraud, fearmongering, turnkey totalitarianism, and backroom deals involving the ultra-wealthy and their captured political, scientific, and regulatory institutions.
www.marketwatch.com
