(continued from Lis Interpretations/Associations 06)
“So we’re skipping over Lis 07 and 09 once more, Hucka D., and leaping into Falmouth for real this time, using information already created in earlier posts and adding onto them. Falmouth I believe is done now — collages fixed. But it’s actually one giant collage of 4 parts that go in a circle. Like the Gilatona-Lis diptychs and triptych before it, each panel functions both on its own as a separate work of art, and also as part of the whole, 4 parts in 1 in this case. Let’s start with 04.”
Hucka D.:
Let’s do.
Falmouth 04 gives us Baker Bloch or perhaps Baker Bloch’s *father* (who is Space Ghost of Space Ghost Coast to Coast fame) with additional chicken legs. In real life, baker b. is afraid to cross the Big Pond and go to Britain to stay with the figure seen in Lis 07. That’s why he is also afraid to create an interpretation of Lis 07 — backs out each time. Including this time, since you skipped over it once more.
bb:
Hucka D….
Hucka D.: (putting his hand up)
Hold on. Baker Bloch is tethered to the other side of the road where President R. Booger Hayes is positioned on a white car to one side of a building, like he is in waiting. The tethered line extends from him, as it does with the Dr. Who figure of Latona 08. Let’s look at that picture, then. Let’s look at a lot of collages today and tomorrow. Let’s look.
https://bakerbloch.wordpress.com/2013/02/21/latona-08/
President or Non-President R. Booger Hayes represents your US of A, which you are tethered to as a *space*man, after all, on a moon shot as you recently put it, I believe. This is your space walk. You are a chicken trying to cross the road, the pond. Amy Pond the red haired woman is in the first picture and she is also a pond or ocean. But she is also beyond the pond or ocean. She is Avebury itself, the collages of Falmouth itself if you will, as it were. The Red Lion at the center of Avebury at the center of Wiltshire and the center of, well, the Earth itself. You can hide under a rock like Patrick Star and stay *home*; you can gallop backwards in the sky like a wrongly turned White Horse — or you can cross the road. You have chicken legs but these are also *chichen* legs, like Chichen Iza, the pyramid dedicated to the great Mayan teacher Red Collie, sorry, Quetzalcoatl. *He* has given you these legs so you can get across The Pond. The Pond can *swallow* you up like a black hole, like Dr. Who in Latona 03 between the Avebury rocks. This would probably be your plane experience, plainly enough. So Baker Bloch is constricted by a line coming from President Hayes, but also another part of the triangle. Also in Falmouth 04 we have Lisa the Vegetarian hugging a ghost Bart maybe trapped in a brick wall. This is saying goodbye to fears and traps in general and heading across The Pond. The blue sunfish coming out of Hayes’ suit has the same basic meaning as in Latona 08. Let me see…
https://bakerbloch.wordpress.com/2013/02/22/maps/
You interpreted that as “open passage to England and Marlborough” closer to the time of its composition. The sunfish, you claim, is also a ship, probably a plane then in this case. There are some other interesting overlaps between Latona 08 and Falmouth 04, as I’m looking at it through your eyes. Thank you. Lisa the Vegetarian, hugging ghost Bart in Falmouth 04, is directly overlapped picture-wise with Selma in Latona 08 offering enticing cigarette smoke to the spaceman there who is Dr. Who. And it’s this same Selma who gives or lends her arm to the same President/Non-President Hayes in Falmouth 02. There *Hayes* is smoking the cigarette Selma’s arm holds. He has somehow attached Selma’s arm and uses it as his own. In the foreground of Falmouth 02, Bart, now not a ghost atall but just as real as sister Lisa V. in Falmouth 04, still holds her arm, as if he has disattached it from his sister in Falmouth 04 somehow — once more a “somehow” here. Before leaving Falmouth 04, let’s look at Patrick Star and his rock house with eyes underneath, which I believe represent crop circle grapeshot, specifically what Glickwoman calls the 4th iteration of a Koch *star*, after all. This is Falmouth 04. This is the 4th iteration. Patrick’s home is the Koch crop circle as a whole, like already seen in a crop circle below Furze Hill to the southwest of Avebury, according to this former blog post. Can you help me here baker?
bb:
Yes.
Hucka D.:
Oh and I should add here quickly that the corndog in Latona 08 is also representative of The Arm, as we’ll begin to call it. This becomes clear when we arrive at Falmouth 03. Do you have the link yet?
bb:
Not yet. Hold on sir.
https://bakerbloch.wordpress.com/2013/03/03/more-wiltshire-shots/
Hucka D.:
Yes thank you. So we know from the comparison of Patrick Star’s home and the two accompanying homes in his underwater neighborhood [those of Spongebob Squarepants and, in the center Squidward’s], and the similarly 3 part Morgan’s Hill crop circle from 2011, that Patrick’s rock home in Falmouth 04 directly represents *laid crops* of a crop circle. As it more importantly refers to the Koch star, it is also prime to note that at the time of its formation in 1997 this Silbury Hill circle [ Koch star] had the largest area of laid crop seen up to that time. And it is very important to understand that it was on this very hill [Morgan’s Hill] that a more traditional star shaped crop circle appeared in 2007. It is from Morgan’s Hill and only Morgan’s Hill that the 3d crop circle can be seen in correct perspective. If we climb Morgan’s Hill at the place where the star formation appeared and look down in 2011 when this other circle was there, we are the same as Patrick Star looking at his home and neighborhood in Bikini Bottom — remembered the place he lived. And then we have an even more prominent *square* shaped crop circle appearing in the fields next to Morgan Hill in 2009 to reinforce all this. The meaning is clear — Patrick Star points to the Koch star and also the Falmouth collage series.
bb:
Yes.
Hucka D.:
So the appearance of Patrick’s Star’s home in Falmouth 04 is the same as the appearance of the Koch Star crop formation near Silbury Hill in 1997. All the later Morgan’s Hill formations — the star, the square, the 3d thingie — point to this earlier circle. The rock part is the laid down crops of the Koch circle. The *eyes* underneath the rock are the grape shot. The laid crops, laid as triangles, are the *rock* — let’s pull up a picture of the Silbury Hill formation, one of the most important of 1997. Give credit where credit is due. As always, the pictures from the Frank and Herman Einstein Blog are used for educational and explanatory purposes only. This is the only way I can get my points across — to use these pictures. So baker if you will again…
bb:
Sure.
http://www.timstouse.com/CropCircles/humancomponent.htm
Hucka D.:
The laid down crops are all continuous and part of the 3 iterations of the Koch snowflake or star or fractal. The *4th* iteration is not directly shown through triangles, but substituted with *circles* — grape shots as they’re popularly called in cerealogical circles — just as circles line the bottom of Patrick Star’s home in Falmouth 04. The point or one of the points is that they’re separate from the main mass of laid down crops in this formation. Yet you were not conscious of this association when inserting Patrick’s home in Falmouth 04. And then take a look at his ice cream cone — I believe it’s the same as the miniature blue sunfish which appears to *bite* the left hand of the Dr. Who figure of Latona 09, the one who appears to be falling into a mysterious black hole. Can you guess what this is?
bb:
Then the eyeballs are also like the circle of meditators in the picture of above, in the middle of the laid crops. What was your question? Oh I see it. Well, the blue sunfish biting or attached to Dr. Who’s hand in Latona 09 would represent, once again, fear of travel.
Hucka D.:
In Falmouth 03…
… thank you — we have the *3rd* iteration of this very same Koch star formation present on the roof of the central house of the collage. This is 03, as the 4th iteration of same is [in Falmouth] 04. Thank you again. (pause) The shark in the foreground is the same as President R. Booger Hayes — he has a sign “Prez” in front of him. He is the same color as the sunfish coming from Hayes’ suit in Falmouth 04. The sunfish is pointed in the direction of shark. The sunfish is the shark. This is Hayes acting as *president* — President of these here/there United States. Can a sunfish cross the Great Pond? No. A sunfish remains in the comfort zone of the US of A, unable to cross the road or the pond. You are The Mouse here, baker b. You talk to Shark, or at least he talks to you. He tells you of the 3rd iteration. Without the understanding of the 4th, however, you do not know what he’s talking about really. He discusses a Clock which can freeze time. There are twelve triangles invovled in the 3rd iteration, just like there are 12 hours to a clock face. A clock projects from the top of Shark’s talk bubble to emphasize the relationship between clock and hours and the 12 triangles. In the middle of the triangles is an arm. It’s Selma’s again, but combined with the shape of a corndog. In 12 Oz Mouse, Shark is actually explaining to Mouse that he does *not* like corndogs, he hates them in fact. The corndog/arm in the middle of the 12 [3rd iteration] triangles seems to act as a clock hand. It points to “1” but more importantly it points to the clock which has 2:22 on it. All of 12 Oz Mouse takes place in this frozen segment of time — a single minute. Mouse is also in a virtual reality in this frozen segment, along with Shark. The corndog points the way out. The arm points the way out. We have already discussed the association between this house with the triangles on it in Falmouth 03 and the Avebury house pictured in Gila 01, the first legitimate collage of the whole Gilatona-Lis series[ as Falmouth 03 is part of the last overall collage of same]. Beginning has met end. In Gila 01, a hand projects from a chimney, and here we have the same hand and the same chimney in theory. The variant band The Kniks, different from The Kinks, use 12 Oz Mouse to declare their independence from all other carrcass artists, but perhaps primarily Frank Zapple. They do this through the single Dead End Steet with a backing Big Black Skome. This is from Gila 00, the collage before the collages begin, the noid before the one.
(continued in Falmouth Interpretations/Associations 02)
Sunklands 