Collage 05, “Simpsons Road Bloch”, represented a small jump up in engagement for me with the developing art series. While the setting remains Boss, Missouri for this, in the air here we have the insertion of a portion of virtual Collagesity’s sky tube, still present in the Minoa sim as of this writing. While collage 03 now also contains Second Life images, that was actually created in the future, at the end of the series, and inserted into the past here to fill an important gap. Collage 05 hasn’t gone through phases like that. So this is really the first time that Second Life images enter the Boos works in chronological terms.
In a somewhat similar way, the Gilatona-Lis picks up speed early on when I start inserting Second Life images, especially with collage 04 (“Eclipsed Marge”) seen here:
Gilatona-Lis also begins with a number of Google Maps/Earth Streetview images employed as bases for collages, just like with Boos now. I believe that’s the first time I used such images in my work.
Specifically, collage 05 of the new series plays with the idea of a Google Streetview anomaly, coming in the form of an apparent “creature” seen beside the road in Boss, Missouri very near the rock house centering collages 01, 02, and 03 (which can still be seen to the left in the current collage). Resident blog spirit Hucka D. has claimed this is a sighting of an Oz Wheeler, a crazy hypothesis on the surface which made more sense when I compared online pictures with what we have here. So for collage 05, I simply juxtaposed the image of a “real” Oz Wheeler, culled from an online movie still of 1985’s “Return to Oz”, with the Google Maps “Wheeler”. I must admit it makes a nice match.
The culled or collaged-in Wheeler in the road seems to call toward his mate to the right, perhaps in recognition or perhaps in warning. Standing between them are the Simpsons toys, the “road
block bloch” of the collage’s title. I now believe they represent another intrusion from the future, unconscious this time. “Go no further in this direction,” Homer Simpson seems to exclaim in his bumbling but good natured way. And so I didn’t. After this collage I left Boss, Missouri behind for good in the series. But a revisit to events surrounding this particular Streetview anomaly might be in order soon. We’ll see.
Note should also be made of the hand to the left side of collage 05, which is the same as Oliver Douglas’ from the previous collage. The hand still holds the seed, and hovers over the very spot of the parked car discussed in collages 01 and 02. We can now guess that the seed represents more the license plate of the car than the car, judging by its size here. The hand may be attempting to bring the license plate/seed “home” to the car, even, another cycle of completion.
And we’ve already talked about the next collage, “12 Oz Mouse Mound,” a bit in the Boos overview posts. The base location now is Second Life itself and not Earth (First Life), specifically Nautilus City, a prime Second life destination designed in a Phoenician style theme, and where I decided to locate my Boos Gallery for now holding the virtual rendition of the series. A meteor falls toward 12 Oz Mouse’s head from above, seemingly, while flying Baker Bloch looks on, perhaps unaware even of the meteor’s presence since it is above him a bit. Is his hand/arm also in danger of being hit? But certainly Fitz (12 Oz Mouse’s actual name) sees it judging from the expression of shock on his face. What happens when it lands? Fitz’s head becomes the meteor.
Similar to collage 05, collage 06 here presents a landscape anomaly. Hucka D. once again weighs in to claim that the terrain jut at Nautilus City’s main harbour area is actually suppose to represent Fitz, or at least his green oval torso. And specifically an image from the 12 Oz Mouse show where Fitz’s head gets hit by a meteor while he lays on the ground in a state of drunkenness. Well, he’s always drunk in the show. Hard to explain. But in the show the meteor really means nothing. It’s meaning translates to *this terrain jut* and even *this collage*, Hucka D. has more recently claimed. Once more, an image or event from “12 Oz Mouse” acts as a door into a parallel dimension; this has happened again and again now, and is especially vivid in the carrcasses. We’ll probably get back to that pattern soon enough.
Collage 07, “Head Brains”, is similar to collage 04 in that the base image is a still from a movie or tv show, in this case the 1968 movie “Head” featuring pop rock sensations The Monkees. This is, once again, audiovisual synchronicity related, a running theme for this section of the collage series apparently. In this case, an important juncture point in the synchronicity “Head Trip” is seen where Frank Zappa confronts lead Monkees singer Davy Jones, challenging him to spend more time on his music because the youth of America depends on him and his band members to “show the way”. Then the cow between them chips in by saying that “Monkees is the craziest people”.
An important statement, looking at it again, is Zappa saying that Davy’s song he just sang in the movie is “pretty white”, with Davy replying: “So am I, what can I tell you?” The audiovisual synchronicity “Head Trip” featuring this movie is all about the back and forth toggling between yin and yang forces, black and white, with the “Head half” (featuring Monkees’ *visuals*) being white and “Trip half” (featuring Zappa’s *music*) representing black. In collage 12 we’ll return to this concept. No Monkees music is heard in “Head Trip”. And this is the only time we see Zappa.