One on one tonight, eh? Well, just glad you selected me to be town deity. Very glad to be of service to you. What can I do for you tonight?
I’m afraid The Woods may be closing up when the heat arrives this week, Carrcassonnee. Bigfoot I’m mainly talking about here, because that’s about the only place I go these days. Whitehead Crossing seems to drain me.
Oops. I just realized I’m missing a lunch engagement. Kerch again… doesn’t like to be kept waiting… makes him grumpy, especially if Alice isn’t by his side. You understand. Ta-ta!
(Baker Bloch’s surroundings fade out. He’s back in the white nothingness. Hucka D. appears.)
Howdy Hucka D.! You still advising me as well?
Kind of. Best to have a physical setting for the pep talks, however. Carrcassonnee’s up for reelection this year. Might be up for a run at the seat myself.
So Hucka D. begged off as well. It’s just me… and me. Well, I’m just trying to figure out what to do with the Table House and Collagesity as a whole. A couple of months back now, I decided that this would be my permanent Second Lyfe home, and I was finished moving around. Mainland’s just not worth exploring any more. Maybe what I call VHC City (on The Diagonal) has some more stories to yield. I suppose Nautilus City has more tales, actually. I was going to move a small part of Collagesity there last fall in an attempt to downsize (see also: Mystenopolis from last summer). Baker Bloch is an explorer at heart, after all, his forte.
But now the summer heat has arrived I must shift back, in real life, to exploring the Blue Mountain Urban Landscape, like I did this same time last year. And, sure, I can keep returning to Bigfoot (just outside this landscape). I have a couple more pictures to share from recent visits. A toy happening didn’t, er, happen this spring however, although I moved some new junk from the Plateau of Raw Art into a developing area of Bigfoot which, for now, I’m calling Chester I think, a hidden center. I could make a map of the area, true.
The main path I take to get to Bigfoot can only be used after the leaves come out on the trees in Blue Mountain, which means mid to late April, usually. Summer is arriving earlier that when I was younger — global warming in action, I suppose.
When the leaves come out I can also explore more around the Bigfeet Swamp, since I am more protected from prying eyes of others living just opposite Leola Creek. But at the same time poison ivy and underbrush limit me in other directions. So for Bigfoot, the arrival of spring and summer is a give and take in terms of poking around. There are probably narrower bands of time in mid to late spring (say, mid April to late May) and then in mid to late fall (like mid September to late October) where I could comfortably create happenings there.
So developments *did* happen in Bigfoot this year. Must remember that. Not sure how much junk remains to be cultivated at the Plateau of Raw Art. I could move more junk in myself from outside.
But back to Collagesity — I’ve set up the Table House last week, I believe, but haven’t done anything with it. I don’t have the “Art 10×10” collages set up anywhere in Collagesity presently. The Toxic Art Gallery use to sit on the same spot as the Table House, but I deleted it to free up prims when I was writing (and staging) “Collagesity Winter 2015/2016”.
And while I’m on the subject, for anyone trying to tackle reading that “book”, I’d suggest starting 1/4th the way in to see if the subject grabs you, or at the section called “Ancients”. That’s where the myth making really picks up. It’s not a standard, linear plot. Not really. What I might do soon is just take notes on it and prepare a type of lengthy interpretation, like I did for the most recent collage series coming just before it (Boos). Perhaps Hucka D. can help me with that.
Another project I really need to talk about is The Table, intimately tied to The Table House but without a developed story yet. The Table itself is very real, however. As I’ve done with maps this spring (moved info from old master atlas to Google Earth to create a new master database) I may now attempt the same with The Table and attached carcasses. All carrcasses before 2008 have been protected. But that still leaves a lot created beyond that in a danger zone. The theory goes that if I had a good enough Table or “tile database” standing behind each individual work, that I could re-create it without too much trouble.
There are two tables which are one table, or the smaller and earlier “Lesser Table”, and then the complete whole I call the “Greater Table” in this scheme. Lesser Table covers the years from “Dark Side of the Rainbow” and “The Rainbow Sphere” (collectively called “The Rainbow Complex”) up until “SID’s 1st Oz” and a little beyond. The works within, slanted toward the Pink Floyd related ones (like “Dark Side” and “SID”), are unfurled in The Oz/Floyd Paradox Document from 2003, written after the creation of “SID” in late 2002. The Lesser Table contains a 100 or so audiovisual tiles, if I remember correctly, about a quarter of which can be found in “SID’s 1st Oz”. The Greater Table contains way over a 1000 at present count. This is a large undertaking.
Where to start? A number of synchronicities, especially the larger ones, have never been completed. The *tiles* are there, but have never been totally fitted together in a single work. The problem with the larger works, like “4orrin1” from 2005 (my first foray into a full platinum tiling synch — get to the levels in a moment?) is that they’re just too sprawling to gain intellectual and emotional control over. As I at least hint at in my interview by Karl Tune last summer, it was as if “4orrin1” came too early, too close on the heels of SID’s 1st Oz. There’s a natural progression from “SID’s 1st Oz” (26 tiles) to “Billfork” (32 tiles) to “Head Trip” (47 tiles) to “4orrin1” (*180* or so tiles), but the step was just too large for the jump between the latter two. In the next run of synchronicity from 2006 and 2007, my peak years of creating such things, I made a similar progression up to another large work that probably even eclipses “4orrin1” in scope. I call this work “1 Pink”, and it may also be my best overall work in this field, along with another called “Peewee Big” coming just before it. All works after that have been composed on a lesser scale, containing tiles that number between Billfork’s (32) and Head Trip’s (47). But at the same time, the works starting in 2010 are more linked to each other in succession.
I think the creation of new collages has stolen some of the energy from new audiovisual synchronicities, which are, after all, collages themselves of disparate audio and video sources. To continue in a/v synching, it seems I must make another jump into the realm of digital production. The philosophy behind tiling must be refined.
Also, “The Shining” represents a kind of omega point to the beginning seed of Oz and The Rainbow Complex. I’m not sure I’ll find another movie quite like that one — unique. Like “The Wizard of Oz” in a very different way before it. And it’s really cool that we have “The Shining Forwards and Backwards” experiment that *isn’t* my creation but piggybacks upon the same kind of excitement and energy. “The Shining” changed things. This is “Carrcass-10”, which has, er, replaced it??? 10 is perfection. Spongeberg understands now.