Monthly Archives: March 2013

March 17, 2013 · 9:07 am

Continuing w/ a Falmouth analysis?

“Hucka D., I found a new creek today. Or realized its importance after knowing about it before but passing it up. This is *Falmouth*.”

Hucka D.:

Yes it is. And we better get back to the Falmouth collages because of your neck. Good you read that last post over again before starting up here.

bb:

We were on Falmouth 02 — the Rockley rock in the background, on the edge of the Avebury circular ridge on its northern side…

Hucka D.:

Direction of the Kniks’ house from the center of the village…

bb:

Yes. So the rock perhaps doesn’t spin, but it’s still a rock, like rock music… like Shark’s record of a rock song or rock album. This is the hand Mouse finds in his freezer (but which he doesn’t have to get on his mousie tippie toes to see, hehe), and then says it’s a record and he should “spin it.” But internally it is symbolically spinning because we have 3 circles around a central triangle on this rock, as we’ve seen before in Gila 05 and also Latona 05. In Latona 05 it seems to have pinned down a hand itself.

Hucka D.:

Yes.

bb:

And then in Falmouth 02 we have more arms, because in Latona 05 we are dealing with actual arms and not just hands…

Hucka D.:

Yes, 2 arms in each.

bb:

Bart in Falmouth 02 holds his sister’s arm, apparently, after she attempts to hug and love him[ in Falmouth 04].

Hucka D.:

There is no real before and after here. We’re talking about Avebury after all, the center. The Center. It is before and after and the all all at once. It is in all 4 collage series of yours.

bb:

Okay, no before and after. I understand that. I think. At least in principle.

Hucka D.:

It all goes in a big circle here[ meaning Falmouth is 4 collages that go in a circle, with no end].

bb:

2 arms, then, in Falmouth 02. Bart has one, and then the other belongs to Hayes riding not in a car but on top of a car. He’s on top of his[ malevolent] game?

Hucka D.:

He has Patty’s arm. Or Selma’s — can’t remember. He smokes her cigarette with her arm. This is a Marlborough cigarette. He is then A. Marlborough Mann. Like you will be for a brief period this summer. No backing out now!

bb:

Guess not Hucka D. I’ll be okay.

Hucka D.:

You’ll be okay.

bb:

It’s the same arm, however. Bart is kind of Hayes here. President R. Booger Hayes we’re talking about here. The same as in Falmouth 04. He forms an animation between the two.

Hucka D.:

Very close but not quite[ meaning he moves to the left a tiny bit when Falmouth 04 is overlapped with Falmouth 02].

bb:

Yes, interesting. I’ll have to think about that small movement.

Hucka D.:

So what doese it all add up to? You have a circle of meditators on the roof of the Red Lion Inn and Pub… circle is emphasized by the Forest Home circle with Saucer on the edge… there’s a saucer on the roof with the circle of meditators. This must be the Forest Home circle, then. As Glickman states, it’s a perfect circle [meditators] that forms in the center of the Silbury Hill Koch crop circle. This is also where the blue lined triangle from Falmouth 02 comes from. This is 02. This is the 02nd iteration of the Koch fractal crop circle visiting Silbury Hill in 1998. It’s mirrored in the blue sky peering through the hole of the Rockley rock, but the 3 triangles have turned into circles surrounding this one, open triangle. Same idea, however. At least to me. The Baker Bloch stares at one of the 2nd iteration triangle himself on his wall, meditating on his own. He is meditating but not part of the circle of 22 tiny human beings on the Red Lion roof. But they’re pretty close to him still. Then…

bb:

Then…

Hucka D.:

Then… we have 3rd iteration triangles, red lined this time, on top of the roof *opposite* the Red Lion in the Falmouth series. On the building or home across the road. You should rent it[ if you can].

bb:

Not sure I want to live *right* in Avebury, Hucka D.

Hucka D.:

Fair enough. The 12 3rd tier iterations become like the 12 hours of a clock, with a minute hand and perhaps also an hour hand. It’s probably suppose to be pointing to or indicating 2:22, like in the 12 Oz Mouse show and also the clock just above the roof, attach to the speaking bubble of Shark. Shark is telling Mouse all of this, then. He’s trying to tell him about The Clock.

bb:

In the background[ to the left] there’s that red shirted guy looking like he’s stealing one of the Avebury rocks again. He’s in Gila 05 as well, along with the Rockley crop circle that reappears in Falmouth 02. And, in looking at it, the monster at the bottom of 05, one of the Gila “monsters” of this collage’s title, Hucka D…

Hucka D.:

Yes.

bb:

… looks a lot like the shark in Falmouth 02. Another sea monster. One eye showing in each. In Gila 05, the monster appears to have his mouth blocked off by something. Like he can’t talk. Or can’t eat.

Hucka D.:

He is not ready yet to talk about The Clock. That will have to wait until Falmouth, which he knows is coming up but still is a long way off. So he manifests in preliminary form, giving you important clues that you are only now seeing or remembering. Because you are remembering backwards.

bb:

So the shared image of the red clad man walking through the 2 Avebury stones must be a key. It is remembering itself. It is talking and remembering.

Hucka D.:

Yes.

bb:

(pause) Oh, the children… the Sound of Music children — their postures mirror those of the Avebury stones to their right (!) They are these stones.

Hucka D.:

It seems to be so. The right child is the right rock and the left child is the left rock. And they watch a rock.

bb:

Whatever the red clad man is doing between these rocks — and here[ and also there, or Gila 05] he appears to be stealing another Averbury rock — that’s what the Rockley rock signifies in Falmouth 02. The rock he’s stealing appears to be about the same shape as one of the circles on the Rockley rock, Hucka D. It might be the central circle (!).

Hucka D.:

(!)

bb:

I also remembered that in “Father Fred” the clock Syd Barrett sings about becomes a rock in the synch. This is a direct link. I’ll put the lyrics at the end of this post.* I also think this is important because the rock-clock synch involves Smipson’s video… “Lemon of Troy” to be specific. This appears to reinforce that the clock here is a rock. I should watch “Father F.” tomorrow.

Hucka D.:

There is a direct link. That’s part of the big Table.

—–

* I’m screaming, I met you this way
you’re nice to me like ice
in the clock they sent through a washing machine
come around, make it soon, so alone
please, please, Baby Lemonade
Read more at http://www.songmeanings.net/songs/view/3458764513820560141/#BBr5u5AVzOB8G0Rr.99

“We…

… can do that.”

bb:

12 hours later, but same topic or topics.

Hucka D.:

Your neck will heal — sprain. Don’t worry about it. But stay away from the home computer a bit. Work downstairs.

bb:

Thanks. Maybe another carrcass.

Hucka D.:

Yes. And hiking. You still need to hike. Walk up mountains… walk through the woods and not on the paths.

bb:

Falmouth Stage 1 is finished. Let me look…

Hucka D.:

I’ll look with you.

—–

bb:

I like the way the Man/Woman is patting the central red haired lady of Falmouth 01 on the shoulders. It’s a sweet collage instead of a scary one, when I had the Max Ernst material added in (since removed). Edna and I both tend strongly toward sweet things.

Hucka D.:

Pat on the back, but maybe also like, tag, you’re it. Or they’re the same. On the other side, this Man/Woman likes rules, but if you’ve read one rule haven’t you read all the rules? Obviously related to R110. Why is her hand left on the top of the building above Mouse and Shark? Is it the same as The Hand of the series? Maybe. And what of the Shark… he’s the Prez according to his sign. Is he the same as President R. Booger Hayes? Seems to be to me, and to you.

bb:

Yes.

Hucka D.:

I’m talking about Falmouth 03 now, yes. So this follows up on the hint you had when we spoke to Hayes earlier through this blog, when you realized he reminded you of the bad guy in SID’s 1st Oz: Dr. Worley of the asylum[ who tried to fry poor, confused Dorothy’s little brains]. In SID, Worley is directly compared to a shark. (Hucka D. sings here:) “Was that fin on the back part of the deal — shaarrk.”

bb:

Nice voice. Almost like a recording.

Hucka D.:

Ethel taught me that. So Hayes comes out of the suit of Hayes as a sunfish — Lucifer — Venus. Venus and Mercury together. You see?

bb:

Yeah, I think so. A bit.

Hucka D.:

So…

bb:

So the shark reference in “Death on 2 Legs” from SID probably points to Ozmo’s Shark.

Hucka D.:

Yes. To continue: Shark and Mouse talk of corndogs. Shark doesn’t like corndogs. Remember that Hayes loves corndogs.

bb:

Doesn’t make sense.

Hucka D.:

Then the corndog is up on the roof, perhaps out of Mouse’s reach. It’s encircles by twelve red triangular thingies. This is the 3rd iteration. There is no true 4th iteration. This is also the 3rd collage of Falmouth. Debate will occur, however, about this instead being “merely” Lis 10, an extended production. But we here must treat it as Falmouth, the 4th [Lis being the 3rd series of Gilatona-Lis]. Each collage of Falmouth is self contained while at the same time lending its meaning to the whole. 4 collages total. Falmouth. So the 12 red triangles are like the 12 numbers on a clock, or 12 hours of the day, times 2. Clock is just above the triangle to reinforce this, or causes the inference in the first place. Still okay with the typing?

bb:

Yeah. So far.

Hucka D.:

As you pointed out, there’s a hand on the roof, along with the corndog. It juts from the outer part of the talk bubble. This is Shark speaking, then. Shark in Ozmo describes the found Hand as a record to Mouse, and that he should spin it. It’s Shark’s record. We know from Carrcass-1 that this record is Powerman. Spinning a hand is like a clock hand spinning around the hours, if they’re going fast enough.

bb:

The hand is like a clock hand, yeah.

Hucka D.:

It’s on 4, but that might not mean anything. The corndog is almost like the hour hand of a clock, while the hand itself is the minute hand perhaps. Or even the second hand. There was a second Hand in Ozmo?

bb:

Not sure, Hucka D. There was a second Eye.

Hucka D.:

So this whole episode is connected to what’s happening in Latona 03 04, which we’ve already examined. Mouse plays for the Sound of Music children there — is this before or after the current scene where he’s interacting with Shark?

bb:

Could be either — another Wilson-Wheeler conundrum. Shark, I mean Mouse perhaps plays Shark’s record to the children after the meeting. Or before. The courtyard that Shark and Mouse are speaking in here is just behind — on the other side of the street — the guitar wielding Mouse in Latona 04. Or Latona 03, however you’re counting it. The Sound of Music children reappear in Falmounth (02), reinforcing that this is part of the same overall time event. But in Falmouth 02, the children are distracted by a rock seeming almost to cross the road to the north. This is the Rockley crop circle rock, found in The Barge. And to further this, there’s a lot of Barge imagery in Falmouth 01, circling back clockwise. There’s a croppie beer logo stuck to the front of the Red Lion pub this time, and then a UFO and also a white horse (Alton Barnes’) from a Barge promotion poster on another of their buildings. The Barge has truly invaded or taken over the perhaps rival Red Lion pub. This is because the actions of the red woman, as we’ll call her.

Hucka D.:

The Red Lion herself. No eyes, but at the front counter of The Barge. That’s the link — she’s in the parking lot of the Red Lion pub in Latona 03 04, and still is from another angle in Falmouth 01. All that is part of one overall time event as you said.

bb:

This is the Red Lion that the man/woman is patting on the shoulder, to get back to our origin point for this particular post.

Hucka D.:

But you’ve given the Red Lion eyes, I see. To see. This is the same as the resurrected being in Lis 09, the collage coming before this in the overall series. It’s the same eyes.

bb:

Well, her *left* eye is the same as the right eye of the resurrected guy in Lis 09, yes. And this is Chrissie of the Jelly Fox crew, the chatty one.

Hucka D.:

The right one is a swan. That’s a black hole, baker b. Cygnus X-1. Good investigating work, baker b. Of course we planted it there at the east portal of the old railway tunnel for you to find.

bb:

The Red Lion woman knows about the black hole that engulfs the Dr. Who figure of Latona 03. She watched it form on the top of the Red Lion pub, traveling along its roof. The perfecting circle. It…

Hucka D.:

Hold on, baker b. Someone just came in the door. An alien.

bb:

Where? There?

Hucka D.:

There is here.

bb:

Do you have to talk to it? Do we need to pause?

Hucka D.:

Yes.

—–

So I’ll just talk to myself while Hucka is busy with his guest. The resurrected being in the Alton Priors church — where would he go? I think he would head to The Barge for a drink. Get a croppie. That’s what Falmouth 01 indicates. The man/woman touches the Red Lion woman to indicate that he or she remembers all lives, male and female. She is androgyny. Saucer on the roof — Saucer, Alabama forms or indicates the circumference of the Forest Home circle with Forest Home as the central dot. The croppie perhaps calms her nerves. The red hair parts around what seems to be a mouth. She wishes to talk.

—–

Hucka D.:

I’m back. That was the Red Lion woman paying me a visit — listening in again. She said you can go back to Rust Spot now, but don’t use the material there for a toy happening. But you’ve found other toys to play with in the meantime.

bb:

Some, Hucka D. Bottles. Can’t decide where to talk them to Methril or Epsi, or some other place.

Hucka D.:

Back to Falmouth — sorry for the interruption. She said she’d come back soon.

bb:

Was she nice?

Hucka D.:

Seemed to be. Said she wasn’t alone, and that she had to get back to the Forest Home.

bb:

In Falmouth 01, the Red Lion woman reinforces her association with the Red Lion by standing in front of the logo. Her head obscures the red lion on the side of the building.

Hucka D.:

The Red Lion is central. Avebury is central[ to Gilatona-Lis]. How are we doing?

bb:

Pretty good. The hand in the sky this time helps to knit two part of the picture together. Blue skies. But it also acts as a double for the man/woman’s hand patting the Red Lion woman. This is probably the most important collage yet in Gilatona-Lis, Hucka D.

Hucka D.:

Yes. Then on the opposite side[ Falmouth 03] we have the woman’s hand again, coming out of the chimney and associating this house with the Avebury house just up the road, seen in Gila 02.

bb:

Seems like a long time ago when I created that picture, Hucka D. But only 2 months ago.

Hucka D.:

This house is that house. That’s the house of The Kniks, after they became a variant band. It’s Ray Davies’ band after all. They tried to form Apricot Bone but all they got was Village Green P.S. Apricot Bone instead became something else.

bb:

The spinning record itself which is the same as The Hand is that single Dead End Steert/Big Black Skome, Hucka D. That’s how they became a true, variant band.

Hucka D.:

It will take a lot of talking to Ray to convince him that the variant band is a good idea. But once he swings around he will be a best ally. You and he are much alike.

bb:

Will Ingor Ratts talk with him?

Hucka D.:

Yes. How’s it going?

bb:

Still fairly good.

Hucka D.:

Then Falmouth 02. What’s happening here?

bb:

The children from the Sound of Music are now fascinated with something else in Avebury besides the guitar playing Mouse from Ozmo, the namesake mouse. This is a rock depicting a Rockley crop circle, again found in The Barge.

Hucka D.:

Red Lion woman placed it there. But I see now it has a hole in it. A triangular hole. Is this the blackhole?

bb:

Not sure, Hucka D. Could be the same blue lined triangle that Baker Bloch is seeming to mediate upon in the foreground. It’s pinned or glued or sumtin on the brick wall in front of him.

Hucka D.:

He’s mesmerized by the triangle. It is his reality. But then the rock comes — huge. Making huge noises. Crosses the road. Baker Bloch looks up and realizes the world is going on around him. Bart Smipson is staring at him with an arm of his sister. President Hayes is smoking Marlborough cigarettes on top of a car to his right, with another cartoon arm. This is the arm of the aunt, or perhaps the sister’s all grown up. The Sound of Music children also watch the rock, Baker Bloch notices, probably for a while. It perhaps is spinning, just like Shark’s record should be spinning. Rock music — spinning. Perhaps this is the album or record, baker b., that Shark speaks about in his speaking bubble. And then Baker Bloch realizes he’s sitting at a corner of another, larger triangle formed by separated red sticks or poles. He sits on the edge of a road, perhaps in danger of being run over, especially if he topples backwards in his grogginess. Why does the chichen cross the road?

bb:

Then the Rockley cabin with the Big Chimney is to the right of Falmouth 02. With a Rockley white horse, now extinct, near the bottom of the chimney. Almost like it can gallop off the chimney and into the surrounding fields.

Hucka D.:

It can. We better end soon. Bart is the same as Lisa, or a generative form of Lisa. Their love keeps them bonded. But Bart has stolen Lisa’s whole arm. This is like your US of A chopping of The Mighty Boosch for stateside consumption. Fielding said it was like chopping off your child’s arm [the way “we” edited it down]. They want to make a fossil of Bob Fossil. He’s too effeminate. So this is what your President Hayes’ US of A did to another fine British import. Like The Beetles before them. Like the Kniks. Yet they gave us The Smipsons.

bb:

Thank you Hucka D.

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Filed under **VIRTUAL SL

March 14, 2013 · 2:58 pm

Falmouth??? Yes, Falmouth.

Base of first and perhaps only collage of Falmouth, the 4th series of 2012. But this is a 4-part collage if so, furthering the diptychs and triptych already present in Gilatona-Lis. So I suppose this becomes Gilatona-Lis-Falmouth. Must shorten this?!

Baker Bloch getting a kick out of the base photos of Falmouth 01 02 03 04 now inserted into the Power Tower Gowlery.

Here are the 4 parts.

Here is the whole:

This goes in a big circle, unlike the diptychs and triptych. This will become Falmouth 01 02 03 04.

Is there even a Falmouth 05 06 07 08?

Also, obviously, this is going to be a sort of big brother companion to Latona 03 04, whose angle is from the *other* side of the Red Lion parking lot.

Should be loads of fun to fill in.

FALMOUTH 01 FINAL?

FALMOUTH 02 FINAL?

FALMOUTH 03 TEST

FALMOUTH 04 TEST

FALMOUTH ALL TEST

Things Wild

http://www.cropcircleconnector.com/anasazi/time2012t.html

http://1pumplane.wordpress.com/2013/03/04/the-barge-inn-honeystreet-wiltshire/

But, musical benchmarks are everywhere I remembered as the Barge Inn loomed. Rodriguez faded as soon as I removed the earphones and was replaced in my head with my own very poor rendition of Wild Thing on the ukulele (which I have been working out, unsuccessfully since Reg Presley, lead singer of the Troggs passed away last month…Reg is quoted as saying this was his favourite pub).

http://en.wikipedia.org/wiki/Reg_Presley

http://www.huffingtonpost.com/2013/02/10/wild-thing-reg-presley_n_2647670.html

http://www.flickr.com/photos/hilofoz/6282332330/

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Filed under Wiltshire

Image

What a Rush!

Moon Landing (revised)

1 Comment

March 13, 2013 · 5:13 pm

March 13, 2013 · 3:30 pm

Lis Interpretations/Associations 04

(continued from Lis Interpretations/Associations 03)

So we’re going to make a stab at Lis Interpretations/Associations 04. Since writing Lis I/A 03 the whole Falmouth series has unfolded suddenly. Excitement! But more to interpret, and because of the complexity of the 4 part series which acts as one whole going around in a circle, I have decided to go ahead and attempt to analyze that at the same time. So returning to Lis, and I assume Hucka D. is around this morning to help me, we have a late addition to Lis 05 that he didn’t approve of first, as I understand, but likes more now in light of Falmouth. So… this is Andrew Wythe’s Christina, from the painting of the same name. Hucka?

Christina is the same as both the man and the woman extending through Lis 01 Lis 02, and Lis 03 04, 04 to be specific. But it acts as a diptych so it’s really the first 3 pictures of the Lis series this figure appears in. And then she returns here, but in a slightly different form. In Lis 01, she is the woman, lone woman by herself, like the mountain in the center of Hayes County, Texas.* In Lis 02 she is paired with a man, making a Lone Woman and a Lone Man. In Lis 03 04, the man is without the woman — Lone Man. Can you find a picture of a map of this county quickly enough, baker b.?

baker b. (after a pause): I had to reload it.

Hucka D.:

Cool. That’s Hays County — sorry. The only Hayes County is in Nebraska and has basically no one in it. That was used in Latona 06 I believe — Hayes Center, the county seat. But it’s Hays we’re now shifting our attention to, and it’s really about [President] Hayes, once more. Shifted. So to return to Lone Man/Lone Woman, we have the man then approaching what we know is a mock up of Cygnus X-1 and its sun and black hole relationship. That’s new information. The man approaches — he is meeting Meat Shake, which is the same. It’s two things that shouldn’t belong together. Black Holes shouldn’t exist. We talked about black holes in the other important Avebury collage, or Latona 03 04. The Red Lion woman watched it form and become perfected — a perfect circle like a perfect ring — on the top of the Red Lion pub before fully manifesting between the 2 prominent Avebury rocks to its right in that diptych. Another diptych, then, like Lis 03 04, and with the same 2 numbers (03 04 of each series). Already we could illuminate this further by discussion of Falmouth, it has become so central. The rock in-between the 2 rocks the red clad being is seemingly stealing in Falmouth 03 is the same size as the circle of meditators atop the Red Lion pub in Falmouth 01. We have gone quite far, baker b. Good work once more. I lost my bet.

bb:

Thanks. Not to get away from Lis 05 too far, but I’m wondering if the vacant corner of Falmouth will be filled with something. Already I’m seeing Harrison’s hand in place of Hayes, and maybe his head in place of Hayes. But what would that mean?

Hucka D.:

We better stick to Lis 05. So here we have the Christina addition, which will become more understandable in Falmouth, once more. There it points to an alternate Falmouth where siginificant elements of Max Ernst’s “The Robing of the Bride” were/are/will be used, including the blue-green gargoyle with the spear, and als the prominent red plumage of the central “bride”, as it were. But in the Falmouth you decided to create, you substituted Ernst with the sweeter, much sweeter Man/Woman of 12 Oz Mouse, who instead pats the should of the central Red Lion woman, instead of trying to stab her, you see. Her hand becomes central. But once more we have wandered back to Falmouth.

bb:

The swan of Lis 05 — returning to that — has also been more recently altered to include an eye. And this is the same eye from the central figure of Lis 04, the preceding collage. This is the black hole of Cygnus X-1.

Hucka D.:

Yes. Most definitely yes.

bb:

The… you go ahead.

Hucka D.:

The swan swims on the line between two geograph squares, which are all 1 kilometer square. This is SU016 and SU116. The Crammer, the central pond of Lis 05, is on the line between the two. As the collage combines two Crammer locations into one to make the pond non-dimensional, one can say that it too has collapsed into a black hole. The Crammer is the black hole. The moon is trapped inside the water but cannot be raked out because it really doesn’t exist in our dimension. That’s the true story behind Devizes’ Moonrakers myth. It is that this lake, this pond, has become a black hole. In your collage — Lis 05, you did rake the moon out of the pond, but only by combining it with the sun, the little yellow fellow in the front. The moon touches the shore — Moon Landing. Yellow being manifests inside. This is pulling out of the black hole by the sun of Cygnus X-1. Matter has reversed out of the black hole and back into the sun. The yellow figure, who is McCoy in the Jelly Fox seeking group, is the same as the Meat Shake of Lis 04. Or the meat part anyways. And with this yellow guy, McCoy, comes the other parts of TILE that he is always attached to. They manifest at all the same time. This is the gargoyles as well of Lis 03, but their positive side, their future side if you may. If I may. They all drink from the TILE cup, which is Shake as well of course, as we’ll see illustrated in Lis 09 coming up. This group although they originate in Devizes and The Crammer, point to The Country beyond The Town for ultimate answers about Lis. They point to Alton Priors and Alton Barnes and Honeystreet and Falmouth beyond.

bb:

Let’s then get back to Lis 06. I won’t put up the picture again, but this is out in The Country now. We look over the top of Alton Barnes and Alton Priors toward Woodborough Hill, Hucka D., the site of the sunfish crop circles early in last years season, and already used in a number of Gilatona-Lis collages, most openly in Latona 00. In The Country… you go ahead again… sorry…

Hucka D.:

In The Country, the 4 part nature of TILE is more fully revealed as a rotating wheel that first appears as The Sun within The Moon in Lis 05. Here it begins as the same underneath or attached to the Rockley rock with the Rockley crop circle picture etched or engraved on its surface. This sculpture, last time we checked, still exists in The Barge at Honeystreet. It will prominently reappear in Falmouth, but let’s not go there again quite yet. The story behind this rock is that it’s symbolically Patrick Star’s rock of the Spongebob Squarepants Show, a favorite of your family as I understand.

bb:

We watch it all during Christmas, yeah. (laughs)

Hucka D.:

Truthfully it’s the silliness they don’t like, and the show, up front, states if you don’t enjoy nautical nonsense then it may not be to your liking.

bb:

But back to Lis 06, it’s Patrick’s rock, his home, and we know this from the star crop circle that appeared on top of Furze Hill in 2007, followed by a square shaped crop circle in the next field over in 2009 indicated his main bud Spongebob Squarepants, shaped like a square. I think we’ve already talked about those circles, along with the one that appeared at the bottom of Furze Hill — is it Knoll or Hill? — that also obviously indicted Patrick’s rock home, 3d style.

Hucka D.:

It’s Furze Knoll, I believe.

bb:

So this is Furze Knoll crop circles, then, imported to a location several miles southwest, where we look toward Woodborough Hill over the top of The Altons. Oh, I just thought of something — Latona is an anagram of Alton (!)

Hucka D.:

The 4 prime energies of TILE, let loose in The Country, are now rolling around in freedom. They are motoring. They quickly get on the highway for further adventures. They head to The Altons. Should we end? I think we should.

(continued in Lis Interpretations/Associations 05)

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Tagged as Gargoyle Observer^*+

March 13, 2013 · 1:26 pm

Lis Interpretations/Associations 03

(continued from Lis Interpretations/Associations 02)

“I think it is a basic mistrust of all-things-town, Hucka D. The 4 characters of TILE arise from The Crammer, or between the two parts of The Crammer which are actually one part, because of the pull of The Country. The 4 gargoyles, kind of parallel monsters here, are The Town, and reach a dead end at the east portal of that old railway tunnel running underneath Devizes Castle, or what passes for a castle now.

Hucka D.:

Perhaps the gargoyles were attempting to restore the old castle, and add to its decor. Stone [attracts] stone, after all.

bb:

Never heard of that. But at any rate we can move to Lis 06, called “Hugs All ‘Round”, I believe. (checking) No, it’s “Rock’n Home”. We have the reappearance of Spongebob Squarepants in Gilatona-Lis, and this time with his best pal Patrick Star. Sbsp appears first in Latona 01, peering out of the opened front door of his pineapple home, speaking of homes. And I suppose here in the newer collage we have a nod to Patrick’s rock home now, which appears in front of him… But the rock is actually from The Barge in Honeystreet, very near Alton Priors which we will be speaking of in a moment. It’s from a picture of this rock I found online, which strangely and queerly depicts the same crop circle I’ve already used several times in Gilatona-Lis collages, originally in Gila 05 but also in Latona 05. This despite it not being a very famous crop circle, Hucka D.

Hucka D.:

*We* put the rock there. [The] Lis [collages] are very tight. You would see the rock, or the picture of the rock from The Barge, and immediately know you had to use it in a new collage. This then becomes Patrick Star’s rock house or home as well, since you made that association beforehand.

bb:

Here’s the post you’re talking about.. oh, it’s already there (!):

https://bakerbloch.wordpress.com/2013/03/03/more-wiltshire-shots/

And then here’s the Marshall photo I use as the base for Lis 07.

http://www.geograph.org.uk/photo/1744705

This is taken several miles east of Devizes, not too far into the country, then. The distinct hill in the distance is Woodborough Hill, which was the site of not one but several of those sunfish related crop circles from 2012. Including the one depicted in part at the bottom of Latona 00, returning to that collage once more.

Hucka D.:

Cool. There’s Lisa the Vegetarian in the new one [Lis 06] as well. She appears to be hugging one of the gargoyles from the statue. As Marshall himself pointed out, this is Bart Simpson, 12th Century style. But the spirit of the gargoyle or monster is trapped in that gravestone transported from The Crammer location, or the location of [Lis 05]. You must hug and love the gargoyles within yourself, baker b., in order to be free of them. You move out into The Country to do this. The Town cannot give you what you need. You search elsewhere — country.

bb:

Like we’ve moved the progression of the Lis series from Devizes — town — out into the countryside, specifically the area around Alton Priors and The Barge itself and the famed Alton Barnes white horse, and so on. Most sacred spot. Here we also have at least one of the 4 TILE monsters or creatures from Lis 05 returning just below Patrick’s crop circle adorned rock. This would be the little yellow fellow again, called McCoy in The Jelly Fox episode of Noel Fielding’s Luxery Comedy show.

Hucka D.:

He’s the one with diabetes (smiles).

bb:

Yeah, but it’s no laughing matter. Perhaps not even a smiling matter. (Hucka D.’s smile is erased.)

Hucka D.:

But…

bb:

But he represents The Sun, the counterpart to The Moon. He’s within The Moon, just as in Latona 02 you have The Sun being swallowed, seemingly, by The Moon. And Fielding himself is swallowed into The Moon when he plays that particular character in The Mighty Boosh. There’s a scene in the first episode of his Luxery Comedy where he reappears in this rather famous role, only to state he’s not in this show. Quite funny.

Hucka D.:

Can I smile again, then?

bb:

Sure. (Hucka D.’s smile returns.)

—–

“In looking again at Latona 00, I feel that all three “stones” we’re talking about here, the one Lisa is sitting on in Latona 00 and then the two (grave stone and rock with crop circle) are one and the same. And all 3 stones are in fact The Diamond from Lis 00. It represents knowledge… Arkansas knowledge. I revisited The Diamond at Metril yesterday, Hucka D.”

Hucka D.:

Great. Singing frogs. Fantastic. They were chatting about how f—ing cold they were, and why did they have to be hatched so early? You’d be doing the same… in fact you were… in your head.

bb:

Returning to Lis 06, obviously the two rocks or stones are associated. According to the turns of The Moon in the foreground, representing its 4 phases seemingly, we have the downward turned moon associated with yellow and the rock from The Barge, and then the upward turned or “horned” moon associated with the grave stone carried over from Lis 05, the one with the Bart spirit within.

Hucka D.:

Bart The Gargoyle. Hugged by Lisa the Vegetarian. Did you know in the early days of The Simpsons, Lisa was seen more as a female Bart. Only later in the series did she acquire her own unique character. Lisa the Vegetarian [season 6 episode] is an important landmark in this progression to individuality. She exists separate from Bart, able to stand apart from him. But love him and his gargoylian ways still. The Simpson males have a degenerative gene that carries over from generation to generation. The female Simpsons are not so cursed.

bb:

Yeah, I read something about that[ not surprisingly]. So Lisa here is loving or hugging somewhere that she had come from, but now stands apart from. A brother to her instead of she herself. As the gravestone is from The Crammer, and is where The Moon originates from in Lis 05…

Hucka D.:

The rotating Moon, actually one Moon, has absorbed the colored energy of the 4 Crammer monsters and trapped it within a 4-part mandala that are called its phases. These are yellow — full moon — blue — new moon — green and red and the half moons, then. The progress of The Moon across the landscape of Lis 06, which would be atop Alton Priors, even, hidden just below the line of trees beneath Woodborough Hill…

bb:

Yes.

Hucka D.:

… Well, I lost my train of thought. Train?

bb:

Thank you for that interpretation. Anything else about Lis 06? We are out in the country, specifically Alton Priors and Alton Barnes and Honeystreet, which are all connected anyway, and away from Devizes. But still close to the latter. We are approaching *home*. We are approaching The End.

Hucka D.:

The grave stone has an eye. It is peering toward The Rock that is the same as itself. The rock does not progress beyond itself. Lisa the Vegetarian has. She has learned to love. She is heart.

(continue to Lis Interpretations/Associations 04)

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Lis Interpretations/Associations 02

(continued from Lis Interpretations/Associations 01)

“We’re probably on the Meat Shake concept, Hucka D. Got a decent amount of sleep last night for a change.”

Hucka D.:

Good to snooze through the night once in a while. The Meat Shake is a combination of your Meatwad, your Shake. Shake seen already in Latona 02 (center). He will be seen again in Lis 09. This is not really your Shake here, but a combo monster, like you indicated. And there is an eye next to him.

bb:

Perhaps I better create a close up of what we’re talking about. Oh, and before I forget, I thought I’d put up the links for the Brian R. Marshall geograph photos these two collages are based upon. They’re a part of a set, just like the collages…

http://www.geograph.org.uk/photo/2388037

http://www.geograph.org.uk/photo/2388024

And here’s the detail I mentioned…

The photos are of an old railroad track called the Holt to Patney Railway. The detail above is from the front of a tunnel which runs under the Devizes Castle, although it no longer acts as a train conduit now. The second photo linked to above shows its blocked up east portal, and the eye and the “Meat Shake” I’ve been speaking above are just in front of this portal. In the collage, a man approaches them — it’s the same man on the right side of Lis 02, who has ditched the girl now and stands alone, just as the girl formerly was alone in Lis 01. As I think I talked about before, I believe the man and woman are one entity, and perhaps akin to the Lone Man/Lone Woman twinned peaks at the center of Hays County, Texas. Just thought I’d throw that in.

Hucka D.:

Hmph.

bb:

So what do you think of this “Meat Shake”, Hucka D.? The man who is the same as McCartney seems to be interested in meeting him. Then the *front* of McCarney is seen inside a pot to the right, facing the camera this time. This is culled from the front of the Sgt. Pepper cover, once more. Again beside him is Lisa the Vegetarian. Obviously these 3 figures — the blue clad man with his back to us, Paul Mac facing us, and then Lisa V. — are directly related to Latona 00 and the front and back covers of Sgt. Pepper, as well as the screen shot from the Smipson’s “Lisa the Vegetarian” episode in season 6.

https://bakerbloch.wordpress.com/2013/01/29/3759/

Hucka D.:

You’re saying that you think the man in Lis 04 with his back turned toward us, the one “meeting” Meat Shake, is McCartney again because he is similar to the Paul in Latona 00 with his back turned toward us?

bb:

Yes. Don’t you think? Seems obvious.

Hucka D.:

(pausing to look) Okay, yeah, now that I compare the two — Latana 00 and Lis 04 — I can see that you are talking correctly. Proceed.

bb:

I suppose I’m just asking: Who or what is Meat Shake?

Hucka D.:

(pausing again) It… is the opposite of the grave the woman stares at in Lis 01. It is The Beginning. Genesis. Not Revelation. How’s that?

bb:

Interesting. I also forgot to mention that I bring these mystery figures “forward” in the collage by doubling their size and positioning them in front of the originals, with the original images kept behind them, or in the background.

Hucka D.:

Cool. They are coming up to meet the McCartney with his back to us.

bb:

I should also add, if I haven’t already, that this tunnel, this portal is just behind St. John’s church in Devizes and can be easily walked to from there. So that fits into the story that it’s the same man as in Lis 02, who is the same as the woman in Lis 01 and Lis 02. That’s why the gargoyles from the church can follow them so easily as well — him, I mean.

Hucka D.:

It’s a strange [detail in the] picture. We better move on to Lis 05. Maybe that will give us the answers we need. We have TILE arising from the waters of The Crammer, still in central Devizes but in a cemetery behind another church this time northeast of St. John’s. This is St. James. 2 Brian R. Marshall photos are once more employed here and combined into one. The gravestone in the foreground is actually part of the cemetery seen in the background “across” The Crammer.

https://bakerbloch.wordpress.com/2013/03/01/4858/

bb:

Let me take over now, Hucka D. Thank you. The collage occurs in a crack in space and time, then, where front and back are the same — kind of akin to McCartney in Lis 04, don’t you think?

Hucka D.:

Could be.

bb:

From this crack in space-time arises these 4 creatures, colored the hues of TILE, or red-green-blue-yellow — monsters again like the gargoyles in Lis 03. But more organized because TILE is behind the process. And all this is a type of play on the Moonrakers mythology surrounding The Crammer, Hucka D. Let me give you the link to the Marshall photos I use now…

This is the foreground obviously…

http://www.geograph.org.uk/photo/382881

And this is the background…

http://www.geograph.org.uk/photo/382855

Marshall provides a link for the Moonrakers story in his caption for the second:

http://www.wiltshiretouristguide.com/Articles/Article_27.asp

In this same way, I am kind of “raking” the alchemical image of the moon in to the shore of The Crammer. I say raking here because it is a gradual process, starting from the grave stone. 6 stages are involved before the moon touches the land. Hence the title of the collage: “Moon Landing”. And inside the last moon image, when it touches the land, is the yellow monster of TILE. These “monsters” come from a Noel Fielding’s Luxery Comedy animation called The Jelly Fox, which both Edna and I found hilarious. I was also instantly struck by the fact that the involved monsters were colored the 4 colors of TILE.

Hucka D.:

Let me stop you here if I may. (pause) Could this new series of 4 monsters be the same as the gargoyles just left behind in [Lis 03 04]?

bb:

I think they’re a progression beyond them, because this is TILE.

Hucka D.:

You are playing on Devizes mythology here, which is interesting for sure. You succeed in this collage where the original Moonrakers couldn’t. You are *actually* raking the moon, which may be cheese and maybe not, into land.

bb:

Interesting as well that Noel Fielding rather famous plays The Moon itself in The Mighty Boosh. And Fielding plays *all* 4 creatures that are colored TILE in the Jelly Fox, and make a reappearance or are reincarnated [in Lis 05]. All of these creations are Fielding.

(continued in Lis Interpretations/Associations 03)

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March 13, 2013 · 12:22 pm

March 12, 2013 · 12:29 pm

Lis Interpretations/Associations 01

(continued from Latona Interpretations/Associations 05)

We start with Lis 00, which is and isn’t the start of the Lis series, much like the situation with Gila 00 and Latona 00 before it for their respective series.

Hucka D.:

Respective? Good evening to you baker b. Nice to be starting a third series so soon.

bb:

Great to be working with you again as well, Hucka D. We may try a double shot today[ of interpretations].

Hucka D.:

I know you don’t like Lis 00 as much as the remaining collages of the series…

bb:

I suppose that’s true.

Hucka D.:

… but it interests me. It *captured* your attention, those 6 Confederacy of Diamond participants sitting in a row in Castle Combe like that. It inspired you to create a new collage even though you thought you were done with them for the winter/spring of 2013. Not so. Lis is the most consistent of the 3, actually, and probably the most meaningful. Deep. But we start with Lis 00. The Diamond rock is front and center, a kind of 7th member of this confederacy and the head of it obviously, since it is the Confederacy of Diamonds. But what is this confederacy. Is it merely a play on Confederacy of Dunces?

bb:

Well, in looking at the collage I believe the people sitting there may represent the collages of the Lis series itself, which will quickly line up in a row after Lis 00 — one interpretation.

Hucka D.:

And a good one. They are waiting for you to manifest them, one by one. And The Diamond will make an appearance as well. This is the spirit of Lisa the Vegetarian showing her strength once more. Everything centered in Arkansas for the US of A boy. TILE. And the walking man to the right is experiencing the energy of TILE as well. The 7 of Diamonds over the entrance he has strutted through is the 7 diamonds of the Confederacy. He is the seventh as The Diamond is the 7th. Arkansas.

bb:

Let’s move to Lis 01, although we may return to Lis 00. Lis 01 is all about Devizes, Hucka D., which I’ll be staying at for my first week in England this coming summer.

Hucka D.:

3 months[ to go]!

bb:

Yes. Getting very excited, especially given what happened in the Lis series. The centerpiece of the collage is St. John’s Church in Devizes, which exists very near where I’ll be staying. Devizes central area is very compact overall; you can be out in the country in a matter of minutes walking north, for example.

Hucka D.:

Oh you’ll be walking north. North east south west. And you’ll go to the old tunnel entrance, if you can get down there.

bb:

We’ll get to that in a minute[ in reviewing collages 03 and 04 of the Lis seris]. So in Lis 01 you actually have a number of Brian Marshall Roberts… dang, you got *me* saying it now Hucka D.! — Brian *Robert* Marshall’s photos combined together. There are 3 focusing on the church itself… I’ll just list them out and give links…

http://www.geograph.org.uk/photo/2387363

http://www.geograph.org.uk/photo/2387298

http://www.geograph.org.uk/photo/2386590

… then 2 of the what’s called the Millenium monument behind the church, which are combined to make a type of 4d image of the thing I suppose…

http://www.geograph.org.uk/photo/2387342

http://www.geograph.org.uk/photo/2387345

… and then one additional Devizes shot Marshall took of a pyramidal sculpture from the downtown area…

http://www.geograph.org.uk/photo/950005

A lot of photos used here, in other words.

Hucka D.:

It is the spirit of Devizes and St. John’s Church combined into one collage. 4d, as you stated, for both church and sculptures. You’ll do this again for Alton Priors in Lis 07. Same technique.

bb:

Yes. Thanks for that.

Hucka D.:

What are the bricks removed in the wall to the left telling you?

bb:

They reveal part of an oval, maybe a mirror.

Hucka D.:

A mirror. Something has been pushed off to the left. There’s only one figure in the collage, and that’s a woman admiring a grave stone to the right. But the stone has been moved from behind the wall to in front. What does the stone say, baker b.?

bb:

I think it is about The End.

Hucka D.:

Yes. This collage is so complex because we had to root you in Devizes firmly to begin Lis. You are *there*. You will be there. You are already there. There!

bb:

A tiny gift shop exists in the corner of the church next to the pyramid, perhaps frequented by toy avatars.

Hucka D.:

Reminders of Civil War battles to the left. Grape shots in the wall. Grape shots are also in crop circles.

bb:

But…

Hucka D.:

The end is covered up, first by putting a brick in the wall to obscure, and then by simply moving the whole picture to the right and pushing it off to the left. But you must remember the origins of the collage. Why did you have to cover up The End?

bb:

I didn’t want to see it.

Hucka D.:

Out of sight and out of mind. But The End serves a higher purpose, for it is the end of life itself. The grave stone to the right, still in the picture and added later, tells you this.

bb:

I really like this collage, Hucka D. It’s soothing to look at. Lots of cool stone.

Hucka D.:

3 bricks removed here… 2 to reveal what you call the edges of a mirror behind the church’s wall, and then a third to make a window for the tiny gift shop beside the pyramidal sculpture. A duplicate St. John’s exists in the background so that you can see its front better. The clock says 11:37. Revelation.

bb:

Let’s move to Lis 02, since it is of the same Devizes church but from the back now.

http://www.geograph.org.uk/photo/2387438

Again we’re combining different Devizes locations into one collage, and this time its St. John’s with a coffee shop in the downtown area called Costa [culled from a Google Streetview image]. We don’t have those over here.

Hucka D.:

That’s your Starbucks as I remember. I don’t drink coffee myself.

bb:

Interesting. Yeah, I assume I’ll be going to that coffee shop quite a bit… again not far at all from where I’ll be staying there. But it’s not *right* behind St. John’s, you see.

Hucka D.:

I see. These are places of worship combined in a place of worships. You worship coffee. Others worship other gods, including The God, the Big Man upstairs. Some even worship the other Big Man downstairs. But you mainly worship coffee, or that’s a primary worship. You should think of TILE more. But you have the woman carried over from Lis 01, and to the right again. She’s gained a partner, a male… they’re a couple. They walk side-by-side. They walk to, well they’re the same person actually, and then man then walks behind the church to the tunnel entrance where he’ll meet Meat Shake. Or meat Meet Shake. The gargoyles from St. John’s break off the church and follow him, but are thwarted in their attempt to spoil the meeting by Gary, who has come with The Diamond from Amereca all the way to Devizes just to protect his own partner.

bb:

We’re moving into the themes of Lis 03 and Lis 04, which are a diptych, so I suppose we better throw out a collage picture here…

The collage “Gargoyles Cometh” is on the left here, and is Lis 03. These are the 4 gargoyles you mention, which you stated have followed the man/woman to the tunnel entrance and are trying to spoil a meeting with Meat Shake… get to that in a moment. Let’s put up the 4 additional Brian Robert Marshall photos the gargoyles come from…

The last gargoyle (4 of 4 in Marshall’s ordering) is the only one that appears full scale in the collage, Hucka D. The images of both the 3 of 4 and 2 of 4 gargoyles are reduced to 50% — they are to the right and left. Then the one in the back is reduced to 25% of the original. That’s a drain pipe coming out of its mouth, but in the collage it makes the thing look more like a monster than it actually is.

Hucka D.:

Oh they’re monsters. Coming to get you!

bb:

Coming to get the man/woman who seeks Meat Shake, you mean.

Hucka D.:

Yes. But thanks to Gary, their efforts were twarted. Gary swings from a tree branch from the right and starts knocking them off one by one till all are dispelled. They slink, defeated, back to their church perches. Church perch. They are the 4 abberant energies of TILE. The 4th, the largest, attempts to sit on and obscure The Diamond of Frank Park you worked so hard to find this spring. He sits and laughs, waiting for the others to catch up. But then — Gary. Swings from the left. Picks them off. Gargoyles thwarted. Attack feigned off.

(continued in Lis Interpretations/Associations 02)

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March 12, 2013 · 7:03 am

Distribution of Gilatona-Lis collages

Hard to interpret, I know, but the basic gist I’m getting out of this is that the Gila series (magenta pins) is mainly set in Marlborough and points northwest to Hackpen Hill, Lis (cyan pins) mainly involves Devizes locations at first, and then moves to the Alton Barnes region a couple of miles west to finish up, and then the middle series of Latona (yellow pins) mainly involves locations between these two (like West Woods, setting for Latona 08 09 10). The only place where all 3 series overlap is Avebury, which is roughly in the center of the map. Gila 01, Latona 03/04 and Lis 08 all involve primarily Avebury locations, and a number of other collages from each series have Avebury elements added in.

In addition, a couple of other collages are still set in Wiltshire County, but considerably outside this general circle (Gila 02 in Salisbury to the south; Lis 00 in Castle Combe to the west). We can also add the 3 full collages of the Baker Bloch in England exhibit from 2010 into this group, which are set in Purton Stoke to the north.

Gila series locations (magenta)

add in Lis series locations (cyan)

add in Latona series locations (yellow)

Then kind of behind all this in the background, as it were, are the remaining supplemental collages created for the Baker Bloch in England (green pins)…

*Now* compare all this to the crop circle map from 2012 I bring up in this mid-January post, just before starting Gilatona-Lis…

https://bakerbloch.wordpress.com/2013/01/16/plans/

Marlborough to the east again, and Devizes to the west.

Summary: The distribution of locations used in Gilatona-Lis collages roughly follows that of crop circles from not only 2012 but previous years back to 1990 at least. The area is roughly covered in an east to west sweep, with Avebury at the center. Crop circles also tend to congregate around Avebury. This is an the energy I’m obviously dependent upon.

Crop circles themselves are seen in many Gilatona-Lis collages (Gila 01 02 03 04 05, Latona 00 01 05, Lis 06 07 08 09), and symbolically implied in others (sunfish imagery for example).

—–

We also have some collages whose imagery is primarily from Second Life (Gila 05, Latona 01). I’ll get to a more detailed breakdown of Gilatona-Lis images in a future post.

Note: Gilatona-Lis is now on flickr.

Monthly Archives: March 2013

Continuing w/ a Falmouth analysis?

“We…

Falmouth??? Yes, Falmouth.

Things Wild

What a Rush!

Lis Interpretations/Associations 04

Lis Interpretations/Associations 03

Lis Interpretations/Associations 02

Lis Interpretations/Associations 01

Distribution of Gilatona-Lis collages

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