Category Archives: collages 2d

00360616

Little Big: what happened

What happened, Little Big?

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triptych interpretation 02 of 02

Hucka D.: In 4b, like we said before, the boy at the tree with the Tintown sign looks down at the missing letter, the missing Y that makes it Tinytown, which it is. I should also say that Tinytown no longer exists, another victim of the pandemic. Like Sissy’s most likely.

Baker B.: Good. Mortons Gap is emptying of meaning.

Hucka D.: I think you want to bring up the 2 PLACEs.

Baker B.: I think that’s taken care of in the text of the photo-novel before, Hucka D.

Hucka D.: 2 PLACEs at once (Hucka D. presses). This is another pointer leading to the triptych. It all leads there.

Baker B.: Okay, good.

“Adventures in Tintown Part 4b of Tin”

Hucka D.: 4b, then. The people with the narrow woman from 4a, most likely her family, have their faces covered by white ovals. To their right we have a ring of ghosts, also with oval white faces or heads. You made the association, thus the triptych continues to the right and not the left at first. You insert the smallest Tintown sign in the darkness behind the ghosts and the whited out face people (in 4a), a mother and her child perhaps. Maybe the narrow girl is the same woman’s daughter.

Baker B.: One of the faces is round and not ovoid. Can you comment on that?

Hucka D.: This is the middle of another simple 2 part collage that you prepared in anticipation of the triptych, although you didn’t know it at the time. The middle head becomes round, and with two oranges eyes, it appears. That’s about all I can say about it for now.

Baker B.: Thank you. Then moving on, we shift from Mortons Gap Kentucky to Tin Town Missouri, from a batch of old photos by, let me see, Russell Lee, who is famous for such things.

https://en.wikipedia.org/wiki/Russell_Lee_(photographer)

Hucka D.: Pie Town, New Mexico, I note in the article. Pietmond.

Baker B.: Right. Blast from the past.

Hucka D.: Lets move to 4c, the last panel which will bring us back to the first.

“Adventures in Tintown Part 4c of Tin”

Hucka D.: Selves, you’ll notice, in the collage, not Self. There is more that one Self. There are 3 in this collage, according to size. The second is 61/100ths the size of the first. The third and last is 61/100ths the size of the second. Although these 3 come in 5 bodies, there are only 3 heads, matching the 3 Selves. Two have been cut off. You sure that Shelley is okay? She’s very important.

Baker B.: I know — extraordinary. She’s okay.

Hucka D.: What are these Selves, then? You find them in Tin Town MO which originally was named Gold. Ronnie Self the rockabilly wannabe star who didn’t quite get there. But he lends his name to the Triptych. He too is part of this (process).

Baker B. (after a pause): The ratios seem important. If we assume a steady reduction, the first is 100, then the second is 61, then the 3rd would be 37.21 almost exactly (checks). No: *exactly*.

Hucka D.: Extraordinary.

Baker B.: Then the simple 2-n-1 collage Barry Deboy holds in the last post before you showed up for our interpretation, Hucka D. (Mortons Gap sign/ “Does this look square to you?”), is the last element inserted here, cutting off 2 of the 5 heads…

Hucka D.: But adding 2 of its own heads (nutcrackers on sign). One obviously truncated (pause). You sure?…

Baker B. (guessing what the bee-man was going to say): Yeah, she’s all right. Anything else?

Hucka D.: I was going to ask you the same thing. Oh — Bat Boy. Zebrasil. Very important. Only the ZE remains (in 4c). Flying toward the First, the largest Self, the most immediate. You.

Baker B.: Thank you, Hucka D. And we’ll work on…

Hucka D.: … Amagon, yes.

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triptych interpretation 01 of 02

Hucka D.: I will forgive you for Amagon. The three lights. Wheeler.

Baker B.: Thank you, Hucka. So you are ready to begin?

Hucka D.: Yes.

“Adventures in Tintown Part 4a of Tin”

Hucka D.: Tinytown changed to Tintown. The missing Y is spotted by a boy in 4b. This is 4a.

Baker B. (clarifying): The boy at the largest of 3 such altered Tinytown signs. The one whose head is slightly cut off in the editing process as he looks down.

Hucka D.: Yes. The blade in the background? You didn’t get to that yet. Has Shelley regained her head?

Baker B.: Dunno, Hucka D. I would assume so. Since I have her active in another window opened up right now.

Hucka D.: What’s she doing?

Baker B. (checking): She’s in the middle of Extraordinary.

Hucka D.: Ahh, appropriate. Have you figured out what she is?

Baker B. (thinking back to 4a and the altered sign): Gold?

Hucka D.: Gold and silver. And platinum. There’s something else coming up.

Baker B. (after a pause; he’s looking in Extraordinary): Okay.

Hucka D.: Are the 3 lights there?

Baker B.: Yes.

Hucka D.: Can you close the window? (Baker B. closes the window) Back to 4a (pause). Obviously Spider has returned. He’s inside the collages now. For real. He’s alive (inside of them).

Baker B.: Yes. Fascinating.

Hucka D.: So that’s one thing predicted in these photos. Can I say these photos are all taken from Tinytown or thereabouts, on the outskirts of Mortons Gap?

Baker B.: I think you just did.

Hucka D.: Kentucky, the actual one, the real one. Not Mortons Gully in Our Second Lyfe. That’s just a 1:1 match from the Oracle.

Baker B.: Good to say (again).

Hucka D.: Not much there otherwise. Sissy’s is closed. Shame. She just wanted to fit in.

Baker B.: Or, alternately, she just wanted to be included.

Hucka D.: Put a picture up of what we’re talking about.

“she just wanted to fit in”

Hucka D.: Another simple collage — 2 part. Like all of them are. Until we reach the triptych which goes round and round… and round.

Baker B.: This is (in) Mortons Gap again, just to clarify.

Hucka D.: Right. (he pauses to look down at his hands; just yellow pollen covered balls, like at the beginning; he had regressed that far) Back to Tinytown which was changed or altered to Tintown. The narrow woman is interesting: one eyed, like Leela.

Baker B.: We call her Eyela.

Hucka D.: Right. She was set up as well (by the powers that bee). That led from the original altered photo, a simple 2-n-1, with the Y dropped out of Tinytown, into the triptych. The triptych was the goal all along. Another altered sign, I’ll note, in the dark backdrop behind her — less obvious; could be missed.

Baker B.: Yes.

Hucka D.: And the bat boy… but we’ll get to him in part 2. Or part 3.

(to be continued)

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00360505

I was under pressure to finish this tonight. An expansion of “Adventures in Tintown Part 4 of Tin” into 4a (original 4), 4b, and 4c. Combined you can create 3 diptychs (4ab 4bc 4ca) and one triptych which goes around in a big circle (4abc or, if you will, 4abcabcabc…). Much analysis could be done but soo sleepy.

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Filed under **VIRTUAL, 0036, 0505, collages 2d, Kentucky, Missouri

Adventures in Tintown Part 4 of Tin

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Filed under **VIRTUAL, 0036, 0501, collages 2d, Kentucky, Missouri

out back

“*Say*, Hucka D. It’s your car again. You know, the one you got from the Mountain in the Air.”

He needs to stop trying. Hucka D. is not coming back. Instead:


“Heater Presents”

“All the hard, impermeable rocks are tucked safely inside, Jackie. I think we’re ready to roll.”

“I’ll get the butter.”

“Funny. I’ll drive while you sober up.” Burt edged around her; entered the cab.

“I’m not drunk.”

“Power I’m referring to,” he said, rolling down the power window in preparation. “Get in.” He opened the door on the other side; rolled down its window too. Burt figured they needed the fresh air after what they’d been through.

—–

The road turned from pavement to dirt, then back to pavement and then finally to rock. “It was rough, Burt,” she said, bouncing along, voicing her confession, knowing the end was looming. “All the dust and the visions.”

“I know. I have a wife, daughter and dog. I’m more rooted than you. I only saw dust,” *bounce*. A hard one there. Took out a tire.

“Sawdust, good.”

“Yeah. 2 comedians on their way to the gas ovens to dispose of the evidence.”

“They’ll never miss us.”

The heavily illuminated crematorium revealed itself around a last, dark, rocky, really bumpy turn in the road. Heaven for some. Heavenly illuminated. They had to stop for a bit and admire it; the flaming entrance like a door to Hell. It *was* Hell. The place was both — 2 places at once. Burt used the pause to check the tires. 3 flats. Perfect. Just enough air left to make it to the end.

They knew the rocks wouldn’t survive the intense heat. They donned their inflammable suits, but it was only for show: the bodies would be consumed along with the stones.

Burt climbed back in; gave the gas a go, opened the passenger door (your choice).

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Filed under **VIRTUAL, 0036, 0408, collages 2d, Iowa, Maebaleia/Satori

gamers

—–

“The guy’s been there forever,” whispered Shelley.

“I really want to play Pac Man,” replies Arthur in a not as hushed voice.

“How… (she glanced over) how about Space Invaders? Right next to him — you haven’t played that as I recall.”

“Really?” is all Arthur could say to this, giving her a look. Pac Man is classic. Space Invaders is a game for *kids* in his opinion, a shoot-em-up. Not even on the level of archaic Pong.

—–

They went next door to sip on saki for a while but the bleeps and blips from the now lone player at the arcade persisted. “Might as well go back to the hotel, dearest. Prepare for Liz again. I’m kind of eager to try out that broken telephone booth outside — see what kind of action that can produce.”

But Arthur wouldn’t relent, not for that and apparently not for anything. He’d stay here at the upper end of Mortons Gap until the ends of the Earth.

Does this also spell the end of Arthur in our story? Shelley has many suitors available to her, it seems. But there’s Liz. Yes, Liz. Arthur also recalls that and finally relents and goes back to the hotel, eventually ending up at the booth like she desired.

“Hello?” she starts the roleplay. “Is this the Moon?” She slams the receiver back into its carriage. “Damn thing’s broke — no *4*!” On cue, a telephone repairman saunters up to the booth outside, loaded down with the tools of his trade around a maximized belt. Until he dispenses with it.

“Dang, Shelley. Just not in the *mood*. Can’t get *over* that guy back there!”

Yes, Arthur might need to disappear from our story for a while. There’s always Keanoob. And Edward, who most call Eddy these days. Might as well drag another character into the story. Appears to be a motif for the novel by this point — character overload. Location will help stabilize: Mortons Gap here. Both of ’em, actually. 2 places at once.


“she just wanted to be included”

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deeper…

“The same four numbers. Over and over.” She turns after observing. “Punch them into me, Ensign. I have to know what this is about.”

“But… your condition. Ma’am.” My probable baby! he thinks.

“Never mind that just do as you’re told. Here I’ll hold the chest keypad close to you.” Just like I did last night, Lt. Clotheshanger thinks. The Deep South has a way of making higher and lower come together like that outside the harsh, dividing glare of daylight.

Behind them and at the same time perhaps:

“Is this a formal complaint, Ms. Mantell?”

“Mandell, she says to this, use to mispronunciations of her two given names. So close on either side. “Martell Mandell” she says in full.

“Yes, certainly Ms. Martell.”

“*Mandell*.”

Pause as Shirley studies one of the provided photos in her mind. “Right, Martell,” she finally acknowledges. “So Ms. Mantell (Martell rolls her eyes), tell me about this Harry slash Jerry?”

“I’ll take over here, Martell, if you don’t mind,” spoke immediate superior Abs — Abbey Abdominator — sitting beside her at this meeting with HR. “We have reason to believe this file was stolen.”

“Interesting,” HR representative Shirley Stall says to this. A ringing in her ear. “Hold on,” she requests, “I have to take this.”

6 minutes later, she returned her attention to the file. “Sorry,” she excused herself, “I had to listen to all 24 permutations before she let me go. The boss, you know.”

Abs looked over at Martell who looked back. Synchronicity of thoughts. Spider!

“There was a horse involved.” She paused, reconsidered the communication. “No: a dog.”

Horse becomes a dog! Another forewarning.

She shakes it off, second photo replaced back by the first. Then she additionally realized that the second *came* from the first. Spider was in Collagesity. Spider was (back) in the collages!

(to be continued)

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00340204

“What are we looking for here, *partner*?”

“You’ll see,” standing Wheeler responded to sitting Baker Blinker. Or should I say, Flip responded to Magika. Because both were Beans in the moment, thanks to their “matching” hair. Wheeler/Flip kept hiding her bad eye to the camera behind a wooden pole of the ruins they were in, what some erroneously deemed brown to pair with a mismatched blue in a classic case of heterochromia. Actually the affliction she suffered from was anisocoria, or an enlarged pupil, making one eye appear darker than the other.

The graveyard across the rushing stream showed no signs of activity. “W-who are we looking for?” asked Baker Blinker again, rephrasing the question from What. “Zappa? I’ve heard that Zappa is around.”

“Maybe,” responded Wheeler. “We’ll see.” She knew the woods were labyrinthine and cryptic for a reason. Labyrinth, eh? That was the first real clue she belonged here, back in Jeogeot and away from Ontario for a spell. Baker Bloch remained asleep and unable to participate. Thus the presence of the Other Baker, perhaps, the female one.

“I want you to think long and hard about the red and the green, Baker Blinker,” said Wheeler Wilson to her side as she shifted her weight from one leg to the other, which also switched observing eyes. Time to see in the dark now.

(to be continued)

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Earlier I had posed on green.

“You saw me today, Baker Bloch. No mistake.”

Baker looked across the table at Wheeler, whose face then changed. “Am Iiiii nothiinngggg?”

—–

This was in a collage called “Moon Landing”, of course deleted now from virtual reality since Collagesity is gone.

And then in a nearby collage of the former Power Tower gallery called “Victory”.

And, in fact, another one from the same series (Lis), facing backwards this time (“Cereal Characters”).

https://bakerbloch.com/collages/gilatona-lis-03/

Wheeler, herself now facing the other way, changed back. “Just so you’ll know I’m around,” she explained the transformation. “Now (slow turn). About that hissing…”

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