Daily Archives: November 30, 2015

Boos Interpretation 09

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A sphere is also found in the next collage of the Boos series, another 2 part animation. I call it “The Boos Brothers”. Mars is the ball in question now, looming impossibly large in a lakeside setting. Two round creatures baring sharp teeth fly in front of it in part 1, who I know to be the Boos brothers of the title. Perhaps they also stand for Mars’ two moons Phobos and Deimos. They head toward a rust colored silhouette of a woman perched on the bank of the lake. This is actually another statue created for the same Tungaske art event that produced the sphere covered in collage 12 before this. The word RUST appears on the sandy incline below it. A spaceman walks in the lake carrying a large box. Peter from The Fringe swims directly in front of him (or her). He looks toward the rusty woman, seemingly in alarm. His head is framed by the spaceman’s box.

collage13real01ab

In part 2 of 2, the Boos Brothers have almost moved off-camera to the right. The rusty female torso is nowhere to be seen; have the brothers *eaten* her? The spaceman has moved in front of Peter. His box has shrunk, and he can carry it with one arm. The other arm, now free, reaches toward a tiny cave in the lake bank. We cannot see the hand of the arm. Has it also been “eaten” or somehow lopped off? Or is it just queerly hidden in the shadow?

collage13real01be

So what is the meaning of all this? Mars, I believe, is a direct extension of the yin-yang ball seen in the previous collage, and refers to the question, “what’s black and white and red all over?” The traditional answer to this koan is a newspaper or, sometimes, an embarrassed skunk or a zebra with a rash. Here it could be the red planet Mars. A 31 kilometer Martian crater has been named for the town of Tungaske, but noone seems to know the reason why. The boos creatures are perhaps confused about their place of origin. Is it the Martian crater or the town that the crater is named for? At any rate, we know from the next collage that they and their numerous brethren in both black and white forms are headed toward Tungaske en masse.

The boos creatures are introduced here because it was at this general point I decided to name the still evolving collage series that name, after a village in Jasper County, Illinois. I explain some of this in the Boos Overview 01 post. I googled “boos” images and all these round eyed toys came popping up. The two I used in the collage are apparently Mario ghost boos, a malevolent strain.

And I should also put forth the idea here that the map duad Jasper-Newton itself is a yin-yang symbol. In Illinois, the county seat Newton is submerged inside the county of Jasper, as if a seed. In Arkansas the situation is reversed. This duad also represents the two sides of our US of A, or north (Illinois) and south (Arkansas). They also stand for conscious and unconscious states of being, a bigger tableau. If Mars is both, then we are truly dealing with powers of a high intensity indeed.

http://www.insistpost.com/cycle-of-karma-and-reincarnation/

Interesting-facts-about-Hinduism-Karma

Interesting reading about “hungry ghosts” here:

https://en.wikipedia.org/wiki/Hungry_ghost

It is believed that the soul contains elements of both yin and yang. The yin is the kui, or demon part, and the yang is the shen, or spirit part. When death occurs, the kui should return to earth, and the shen to the grave or family shrine. If a ghost is neglected, it will become a kui. The shen, or ancestral spirit watches over its descendants, and can bring good fortune if properly worshipped.

(to be continued)

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Boos Interpretation 08

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If collage 10 brings us fully into a Tungaske collage environment and establishes an aesthetic foundation for all to come, then collage 11 provides us roots. We are at a particular house that I will not identify except to say that it is the home of a prominent town artist who I seem to be able to identify with more than any of the others. That’s because we’re both artists of *junk*. A key link is the presence of a large spool table on the property, much like I built my Bigfoot junk/toy environment around a (smaller) spool table in part. You can clearly see the Canadian artist’s table in Google Maps Streetview, and also, surprising me, on a short, very choppy video someone made while driving through the town in 2011.

Collage 11, entitled “Hucka Homebee”, is an animation, like collages 02, 03, and 08 before it. Here’s part 1:

Boos11a Huck Homebee

We have the return of several items seen in former collages. Two reappear from collage 5 (“Simpsons Road Bloch”), or the Oz Wheeler and the triangular formation of Simpsons toys. The Wheeler again stands in the middle of a road and at the bottom of the picture. The Simpsons figurines again stand to its right, but in a yard now and not a road. The golf iron from collage 07 (“When Wheels Went Round”) is seen to the Wheeler’s left. Like with that collage, the head of the iron touches a *spool table*. The same Wheeler is found in collage 07, but on top of such a table and not in front of it.

In part 2 of the animation, the Simpsons figurines are replaced by a doll version of resident blog spirit Hucka D., referred to in the title of the piece. Specifically, the doll is superimposed directly atop Homer Simpson in the animation. This symbolizes the home aspect and the rooting act. *I* come to roost in Tungaske, borrowing a resonant artist’s humble dwelling spot. Hucka D. shows the way, becoming “Hucka Homebee” in the process. It’s possible an unconscious nod to a baseball home base occurs here with the positioning of Homer in the corner of the yard. Notice also the parked car to the right, which may resonate with the Boss, MO parked/junked car of collage 01 and 02.

collage11base03

And, yes, I’m aware that Hucka D. has not made himself known in my new round of collage interpretations. I gave him an opening earlier to interpret this particular collage of the series, along with others, but he left it alone. My instinct is to keep moving forward without him for now, until I get myself in a pickle.

collage12test10

We see the return of the yin/yang or tajitu sphere in collage 12. The artist whose house is featured in the previous collage is one of those pushing or holding up the ball. This is *her* creation, at least in part. Per the title (“Trapped Wheeler”), a Wheeler is encased within the black half of the sphere, but the image is now that of William A. Wheeler, vice president to Rutherford B. Hayes from 1877-1881. However, we’ve also seen this particular Wheeler in the first half of a May 2015 Stonethrow animation I called “Beware The Heelers”. There the association with an Oz Wheeler is first made: the lower half of the stairs version of the vice president is replaced by the wheeled lower part of the Oz creature. Then in the right side version, a different slant on this amalgamation takes place as his hands are instead replaced by shoes.

wheelers16
“Beware (The) Heelers 01”

These same shoes also reappear in the present collage, seen attached to the people on its left hand side. This again stands for the audiovisual synchronicity “Head Trip” we’ve mentioned before in connection with collage 07, “Head Brains”.

Boos Interpretation 05

A spool table appears in that earlier work as well. Perhaps a cursory description of the synchronicity from my August interview by Karl Tune is in order here.

I thought “Head Trip” to be an important work moving forward and I sent out some tapes to people. We were still on the edge of VHS tape days. I was very pleased that about all of them “got it”. At its base, “Head Trip” is a continuous toggling back and forth between 2 movies which are dubbed by 3 audio sources. It involves 47 tiles if you include plain dialog segments, compared to 32 for “Billfork” and 26 for “SID’s 1st Oz”. I mention these numbers for another particular reason.

You have to keep in mind “ST/TD” was a very small forum. Others began mentioning “Head Trip” and I chipped in with my own theories about it. Some tension manifested from the theories. Whytless Physh left the scene, saying he had accomplished all he wanted to do here with “Jesus Who?” Last I heard, I believe he spoke about refocusing his energies on becoming a lawyer. Dave had wrapped up his run of Rush centered synchs. Stegokitty had moved on to different interests. Virotti became frustrated that we were talking about other things besides file sharing. The wheels were falling off, like I said. And not just for this forum, but for the progressing forward of audiovisual synching in a group fashion.

What I’m going to take away from this is the link of the phrase “wheels falling off” here with the “trapped wheeler” aspect. In terms of group energy, “Head Trip” was a dead end. The Wheeler inside the ball is *me*, unable to go further in a particular direction. In another way, it is the interviewer Karl and the limitations of what we spoke about. I purposely concocted our interviews so that they would be of about equal length — another tajitu situation. And each interview itself is divided into 2 equal parts. The gap Karl had in his experiences with audiovisual synching groups acts as the seed for my own interview. And visa versa — I didn’t know a lot of the story behind Shared Fantasia II, for example. Wikipedia defines the yin-yang symbol as, “a circle divided by an S-shaped line into a dark and a light segment, representing respectively yin and yang, each containing a ‘seed’ of the other.”

The Tungaske woman artist whose house we see in collage 11 is the one who most holds the Wheeler figure here “in place,” her arms pushing against his shoulder. The metal sphere the yin-yang ball replaces in the collage might itself be a kind of failure or dead end as a sculpture. Unlike other pieces in the same location (seen in other photos from the particular art event), we do not see it subsequently exhibited in a Tungaske location. Sometimes spheres are difficult to hold together in the long run. You need some help, perhaps divine provenance.

(to be continued)

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