Drink Lake Falls.
Hermania’s TILE Falls (top).
Previously unknown Mythopolis Falls.
Mythopolis meadow scene.
Mythopolis daffodils. Springing up!
Monthly Archives: March 2015
SID’s 1st Oz
baker b.’s personal synch journey through the golden age of synching, part vi of vi (we’re done!)
I wanted to go ahead and finish the series off this morning if possible. I’m sorry to disappoint some of you but I’ve decided not to post a link to the video files this go around. I can send them to you individually through messaging if you wish. I watched most of SID’s 1st Oz yesterday while the wife was in class, but fell asleep before reaching the end. I was still impressed by the power of the first half, however. It’s just that I had a full stomach and also was drinking some wine. You know how that goes.
A little bit of background. I served as administrator for a co-op forum called The Film/Album Synchronicity Board from about June 2000 until Sep 2002. I remember the last month especially because it was when my father died. An end in more ways than one. Walt SIDney’s Fantasia 2000 and Horton Hears The Who lie on the near side of this end, while The Point of The Wall and SID’s 1st Oz came after it, or Nov. and Dec. 2002 approximately. In looking at SID yesterday and seeing Dorothy re-enter Oz after crossing the Deadly Desert again to the accompaniment of Jethro Tull’s A Passion Play album, I was reminded what this synch might be most about, and that’s the subject of death. Namely Oz = death, The End. Or, more specifically, the afterlife.
I don’t have a SID’s 1st Oz website to fall back on in this case, unfortunately. I’ll have to describe it as briefly as possible. We’re dealing with 26 base tiles here, or almost 3x the amount of what I’d used in any synch up to this point. Four artists are employed: Jethro Tull, Queen, Roger Waters (1st solo album; with Ron Geesin) and Syd Barrett (1st solo album as well, plus 3 of his Pink Floyd tracks). The works of these artists are not isolated in big blocks this time, like Walt SIDney’s F2K, but are woven into each other to create a larger whole. And like with Pink Vertigo, Horton Hears The Who and The Point of The Wall, an overall storyline is highlighted. Aiding this cause are numerous bleedthroughs of dialog from the Return to Oz movie, many more than what appeared in MessiaenSphere. I’d say there might be close to 50 of these without an actual count.
Center is strongly emphasized, carrying forth or transposing the strong center of the Passion Play album (the enigmatic Hare Who Lost His Spectacles tale). That’s different as well. And unlike Horton Hears The Who and The Point of The Wall, I didn’t just pick and choose tracks to match the video. They are inserted into the synch in almost the same chronological order that they are found on the albums. 1 artist is bonded to 1 album in this manner (except for Barrett and the early Pink Floyd stuff). SID’s 1st Oz is also divided into 4 “regions”, each with similar qualities. It’s a difficult synch to describe without illustrations. I’ll direct the more curious here until further notice:
http://www.appstate.edu/~brittanma/paradox/paradox15.html
I was also speculating this morning about “what ifs”. What if I decided to keep The Film/Album Sync Board going and attempted to push the envelope and raise audiovisual synching to a higher ground. Perhaps a more polished, more accessible SID’s 1st Oz could have helped some. If we hadn’t been beaten down by copyright issues… But I decided it all had to be let go of. And I believe a part of me died there as well. Slowly but steadily, you recover and move on. That’s another series altogether, probably for a different arena.
So let’s just see what happens next, shall we? 🙂
Thanks a bunch,
baker b.
Filed under Carrcass Artists, SID's 1st Oz
God Like Spaghetti.
“I had that dream again, Hucka D. Skillet, as a bomb, came into the temple and blew it up good. Real good. Hucka D.?”
Filed under **VIRTUAL SL, Heterocera, Rubi^
Temple Tales
*Aqua*rius. Good one.
Knowledge is poison.
Boxed in (but not insane).
Always thinking, always pondering.
Jesus…
… and friend.
Book of tales, book of stories. Story Room.
Tell book tell!
Forgotten Edward.
Filed under **VIRTUAL SL, Rubi^
Carr. Talk
“Biker Jones is complaining about a splitting headache. Wonder why?”
Carr.:
Harr.
bb:
Carr., can Boxy Brown talk?
Carr.:
Boxy Brown talked to Meatwad. But no one else harrd. Heard.
bb:
But Jesus couldn’t talk directly to me.
Carr.:
Another attack is coming. From the outside. 94.38 percent of America is male crazy.
bb:
I’m a feminine male.
Carr.:
Yeah. That’s what I call you.
bb:
Oh yeah. Forgot you were… forgot who you were as well or on… er.
Carr.:
That’s okay. We’ll talk more tomorrow.
bb:
I’ve got a couple more questions. Hucka D. hasn’t really been around since he started to incarnate in This Second Life a couple of weeks back.
Carr.:
You must come permanently here. Like he has. You must become the resident artist. You were thinking about this today. I know because I am you[ as well]. I am all. Here. Harr.
bb:
Will Hucka D. return as the prominent blog spirit?
Carr.:
He’s out in Frogtown right now. Getting me some tea. Then we plan to drive over to Liar’s Leap. Stories you know: we’re good at them.
bb:
But this is a nodal point. Let me look that up… nodal point.
—–
“I give you gold and you call it lead.”
Model T-Ford:
You are insane. Like an exercise machine.
—–
bb:
Carr., the new invader — it’s not connected to Model T-Ford? He comes in every color except black.
Carr.:
A rainbow is a color except black.
bb:
Well, who *is* the new invader, this new overmasculinized outside thing? A tank again? From Norubi?
Carr. (counting):
Well. We’ve had, um, Perch. Sorry… Shadow. That’s Perch’s cousin. I’m Perch now of course. So that solved that. Then the tank from Norubi. Now I’ve had a talk with the turtle who was actually responsible for the forest illusion and he’s apologized to me personally and I take that for a whole town. Who’s Perch?
bb:
Er, you are.
Carr.:
Correct. Just checking. Now back to the counting… So that’s 2. Then there was Carrcassonnee. Oh wait, that’s me. Tee hee. So mark that one off. Carrcassonnee didn’t invade Collagesity.
bb (flatly):
No.
Carr.:
Boxy Brown. Hey Boxy Brown? Did you invade Collagesity? (pause) Boxy can’t answer yes or no. See, you did imagine it.
bb:
I’m starting to think you’re the mad one.
Carr.:
No. Projection. That’s Kerch. Kerchal to you. Wrong forest.
bb:
You are saying this other virtual forest is mad and not your — our forest.
Carr.:
Correct.
—-
bb:
Carr., can you separate into the two parts you formerly were?
Carr.:
That’s enough [talk] for tonight.
Filed under **VIRTUAL SL, Heterocera, Rubi^
Dam
“I’ve been called mad, Carrcassonnee. It was in jest, but… mad!”
Carr.:
HAR HAR HAR.
Boxy Brown:
Sasssyyy.
Filed under **VIRTUAL SL, Heterocera, Rubi^
Rock Operas
Part v of vi of the series describing baker b.’s personal journey through the golden age of synching… coming at ya! Former parts here:
https://bakerbloch.wordpress.com/category/carrcass-artists/
We remain in 2002 for the twinned synchs Horton Hears The Who and The Point of The Wall, created about 4 months apart during the second half of the year. Both employ a famous rock opera on the audio side, and perhaps the 2 most famous: The Who’s Tommy and Floyd’s The Wall respectively, both double albums. The dubbed videos are “Horton Hears a Who!” and “The Point”, two lower grade animations from 1970 and 1971. In each case the album is edited to scenes from the film. The main difference is that the base film for Horton Hears The Who remains unbroken and whole in the synch, while The Point is edited to fit The Wall as well as visa versa. Otherwise the two synchs are quite similar to each other, with parallel climactic moments.
Horton Hears The Who has 6 separate tiles. The Point of The Wall is a bit more complicated with 9. Each are similar in length (approx. 25-30 minutes). These are more compact and somewhat less ambitious works that either Pink Vertigo or WSF2K. The strength is an attempted fused storyline between audio and video. The editing is a bit rough as this is all analog generated still, so apologies for that — hope it doesn’t detract from the overall experience. See what you think.
Next up: the final part featuring SID’s 1st Oz; where it was all heading…
password: synch
https://www.dropbox.com/sh/642ntpd6l3zh7lc/AAASpdCW6W8IGjC2GNgvFz04a?dl=0
Filed under Carrcass Artists
Carr. Speak
Baker Bloch teleports down to the Red Umbrella. In looking over at this corner, he’s reminded he needs to ask Carrcassonnee about the UmbrellaStar fellow over in the Pond District who visited Collagesity the other day.
But upon checking in at the Temple, Baker finds Carrcassonnee busy with Hucka Doobie again. Yeah, he’s been inworld more lately. I’ll speak further about that a little later on.
Hucka Doobie notices Baker Bloch
—–
bb:
Carrcassonnee, they’ve taken away my classic view in WordPress. I don’t like.
Carr.:
Ahh, you’ll get use. (smile)
bb:
Thanks for the encouragement. How’s Hucka Doobie doing? He left suddenly when he saw me.
Carr.:
He’s asking important questions about SID’s 1st Oz, I know.
bb:
That’s another thing I want to ask about. Obviously I’m heading toward SID’s 1st Oz in the 6 part baker b.’s journey through the golden age of synching.
Carr.:
Good.
bb:
But I’m not sure yet that I can really focus in on SID.
Carr.:
No.
bb:
So I’m thinking about Uncle Meatwad instead.
Carr.:
Yes (!)
bb:
So that’s…
Carr.:
Yes.
—–
I figured Jesus knew all about sacrifices. “Jesus?”
Carr.:
Yes?
bb:
Not you Carr. Jesus.
Carr.:
I am all deities now in Collagesity. I am the Speaker. Capitalize that in the blog.
bb:
Alright, *Carr.*, let’s talk about sacrifice.
Carr.:
You do not know much about that[ yet].
bb:
I’m thinking of sacrificing Uncle…
Carr.:
Do it. Sacrifice. Jesus concurs as well.
bb:
Ramifications?
Carr.:
None.
—–
A little later on I found out that Hucka D. was diving deep into SID’s 1st Oz instead. Replacement.
Filed under **VIRTUAL SL, Carrcass-00, Heterocera, Rubi^
WSF2K
Part iv of vi relaying baker b.’s personal journey through the golden age of synching (1997-2003 or so). Parts i-iii are here…
https://bakerbloch.wordpress.com/category/carrcass-artists/
Our trip brings us now to Walt SIDney’s Fantasia 2000, which represents another step up for me at least in terms of producing an obviously synchy and quite watchable work. Like Pink Vertigo, this is an attempt to tile a complete or equivalent complete movie with audio. Unlike PV, devoted to Pink Floyd alone (albeit tracks from a number of their albums), WSF2K cracks open the barn door a bit more to allow artists like Nirvana, Stevie Wonder, Radiohead, Paul McCartney, and Electric Light Orchestra to enter and join in the fun, in addition to, yes, a pretty hefty dose of Floyd at the end.
I was pleased to find an old website on the subject last night, so perhaps I won’t have to yammer on as much about this one. Check it out here if you wish…
http://www.appstate.edu/~brittanma/oldersites/wsf2k.html
http://www.appstate.edu/~brittanma/oldersites/wsf2k1.html
Here are the lyrics for the various tracks…
http://www.appstate.edu/~brittanma/oldersites/wsf2klyrics.html
Some key ideas:
WSF2K evolved directly out of Shared Fantasia, the latter which I consider a pivotal work in the golden age of synching for certain. I was pretty shocked to find out I could create a virtual double or twin in so short a span (3 nights). 10 cues are involved, with the last cue spanning 2 animation segments and playing right over the gap where Angela Lansbury is introducing the last one. Interestingly, that final animation, dubbed by the Floyd song “Sorrow” (original music: Igor Stravinsky’s “Firebird Suite.”), may represent the best stretch of synchronicity in WSF2K and one of the best I’ve been able to produce in my own work. Yet since the cue of this tile comes in the animation before it (which also works quite well in and of itself), the section can be viewed as being further away from manipulation or *synchronization* than anything else in WSF2K; ironic juxtaposition, then. Synchronization and synchronicity become more mixed up here and hard to surfacely differentiate.
The weakness of WSF2K, and by association, Shared Fantasia, is the lack of an overall storyline, like we had in Pink Vertigo. The animation blocks in both Fantasia and Fantasia 2000 are separate from each other and do not weave together in any way except through commentary. We’ll deal with this issue more in the next part of my personal journey through the golden age of synching: “Rock Operas”. See you then!
password: synch
https://www.dropbox.com/sh/f7q60xyq2hptrmy/AADpis9nsx6KLPKrwsALedr8a?dl=0
Filed under Carrcass Artists
Pink Vertigo
Facebook:
Previously:
part i:
https://bakerbloch.wordpress.com/2015/03/10/23204/part ii:
https://bakerbloch.wordpress.com/2015/03/11/messiaen/Part iii (of vi, I believe) of baker b.’s personal journey through the golden age of synching brings us to Pink Vertigo, a still solid looking early synch from late 2001. PV represents my first attempt to tile, with various cued regions, a whole movie or equivalent whole movie. This would be Alfred Hitchcock’s enigmatic Vertigo, which some rate his best. Personally I would select Rear Window for that title, but — apologies to Nightmare Before Christmas and The Wizard of Oz — Vertigo is still probably the best film I’ve worked with on a synch to this point. I think the jump up in complexity here is, in part, an attempt to match or resonate with the energy Hitchcock put forth in this masterwork.
We have not 1 cue (MessiaenSphere/ Piper’s Nightmare Xmas), not 2 (Full of Secrets), not 3 (Messiaen Trek), but 9 now in Pink Vertigo. The first tile I found in the synch would be the cue between the title sequence of Vertigo and the 1st track from Pink Floyd’s soundtrack album “Obscured by the Clouds”, which many consider the best among their several offerings of this kind. This would also become the first tile of the completed Pink Vertigo synch. The following 8 cues/tiles came in a bunch a bit later. These are their conditions:
1. Use the *first track* from all of Pink Floyd’s pre-Dark Side of the Moon *studio* albums *except Ummmagumma* to equivalently tile the movie Vertigo in a front to back fashion.
In order, these early Pink Floyd studio albums (minus soundtracks) are: 1) Piper at the Gates of Dawn, 2) A Saucerful of Secrets, 3) Ummagumma, 4) Atom Heart Mother, and 5) Meddle.
2. Start at Atom Heart Mother (no. 4 studio album) instead of Piper at the Gates of Dawn and work in chronological fashion to Meddle (no. 5) then back to Piper (no. 1) and Saucerful (no. 2). Again, in the middle of the synch, as it were, we “skip” Ummagumma (no. 3), which has already been used in a baker b. synch I might discuss later.
3. Repeat the process twice in round robin fashion.
4. Although divided into a number of sections to increase royalties, I’m counting the entire Atom Heart Mother title composition as track 1 of the album. When you repeat its use in Pink Vertigo, you simply pick up exactly where the first part left off. So part 1 of Pink Vertigo employs sections 1-3 of this title track, and part 2 of Pink Vertigo uses sections 4-5. Section 6, the last, is left out of the mix.
5: One last condition: Instead of using the 1st track of A Saucerful of Secrets we are using the *last* track in this synch (“Jugband Blues”) — in both parts. This is the also the track ending parts 1 and 2 of the synch.
Sounds complex I know but it’s pretty straightforward when you look at it and if you know the Pink Floyd albums involved. Oh… one more trick. There’s a dialog bleedthrough in part of the second Atom Heart Mother tile.
See what you think. Next up: Walt SIDney’s Fantasia 2000. Thanks for reading!
Password: synch
https://www.dropbox.com/sh/s5ncax5ukodo28e/AACNM12xwdwzNLp2Vp91OHRua?dl=0
Filed under Carrcass Artists
Sunklands 