Category Archives: collages 2d

“Give it a shot this morning to complete. So Hucka D.?”

Hucka D.:

Present. Gabriel as “Lamb” character Rael looks on at Sam Parr collage #11, which is included in Sam Parr collage #10 (as is Gabriel/Rael).

bb:

Interesting that Rael is also a religious leader, Hucka D., as I’m recalling. And, as I’m checking, founded in 1974, the same year that Lamb Lies Down on Broadway was released.

Hucka D.:

Gabriel liked that [synchronicity] as well. You will live in a box in Box and he will find you there. The snake eating its tail. Then he will know. He will have a way out.

bb:

Quote:

The beginnings of Raëlism are rooted in the claims of a French former automobile journalist and race car driver Claude Vorilhon. In his books The Book Which Tells the Truth (1974) and Extraterrestrials Took Me to their Planet (1975), Vorilhon alleges that he had alien encounters with beings who gave him knowledge of the origins of all major religions.

The movement traces its beginnings to a conference in Paris, France of two thousand people in 1974.[10] From there, the MADECH organization was born.

More:

Raël has instructed some women members to play a pro-sex feminist role in the Raëlian Church. “Rael’s Girls” is another group of women in the movement which are against the suppression of feminine acts of pleasure, including sexual intercourse with men or women. Rael’s Girls solely consists of women who work in the sex industry.[65] In contrast to the teachings of the world’s major religions, the women of Rael’s Girls say there is no reason to repent for performing striptease or being a prostitute.

Hucka D.:

You are recalling, then, how Carrcassonnee declared herself a hooker.

bb:

Yes.

Hucka D.:

The truth is many religions converge on that stage in Sam Parr[ collages] 08, 10, and 11. What will manifest there? Gabriel is studying that too in past/present/future. He is also aware of the Cross of the Lamb, and the position of [album] “Lamb” upon it. He is aware of the future Tronesis blue robot. He cannot make an animation because the red opposes him. The red may be Dark Side of the Rainbow? Anyway…

bb:

Back to Sam Parr 10.

—–

Hucka D.:

Ready to continue? We should finish this today.

bb:

Sure.

Hucka D.:

Gabriel/Rael looks on, absorbing the end of the Sam Parr series correctly. He has jumped out of the collage (fox headed woman) and becomes an observer (Rael — Gabriel sans shirt). He witnesses the seed of a new religion. Raelism. But not necessarily the one you link to above. It’s based on the Cross of the Lamb. Gabriel correctly sees that Tronesis is the movie that should have been made with Lamb. It’s a combo or mesh of Tron and Lamb, of course. Later a Tronesis robot is even formed to study the synchronicity and create New Life. This should be understood now.

bb:

Strangely, we’ll get to that, I believe, when I finish writing out Paradox II: The Chancelling for the Sunklands site.

Hucka D.:

What else is in the animation Sam Parr 10? Ray Davies re-appears in part 2 of 2 of this animation, as he appeared in Sam Parr 01. This is completion, then. He stands side-by-side and toe-to-toe with Gabriel. He is absorbing the collages as well. He is perhaps even explaining what he knows about them to Peter. Peter understands that he is SoSo. Ray understands because he is a solo act like Peter, but is better known as the front person for a famous band. The Kinks in Ray’s case, obviously, and Genesis for Peter. They are both variants — they had this option to become Sunklands variant rock stars and decided to take the plunge. So this is not actually Ray Davies but a variant that fronted the Kniks instead. And Peter is Peter SoSo.

bb:

Cool. Not fully processing that but let’s move on. We have the return, as well, of Edward Swift (sitting figure) from the Falmouth collages, Hucka D. He is with Ray at the Stonethwaite End and Restaurant [ in that series], and is with Ray again. And the big blue “E” representing the Korean Channel also returns from that same collage. And this is another animation, like that scene in the End and Restaurant. I can’t recall the number of the collage, though.

Hucka D.:

Not important. This, just to note, has been doubled with the Collagesity diner through ghosts Space, Zorak, and Moltar. They punched a hole across collage series. Now Karoz is able to go there [to Stonethwaite] and speak to Story Room directly, who run or use to run the inns there. I suppose they still do. They are just guest lecturing in Collagesity, upon Karoz’s invitation. Have you signed up for their course yet?

bb (laughs):

Not yet.

Hucka D.:

Edward Swift, who might represent Rubi or the alternate path of Collagesity had it stayed in Rubi instead of manifesting in Noru…

bb:

Yes.

Hucka D.:

He drinks a single beer. And then when Ray and Rael appear in part 2 of 2 someone has obviously drunk a lot more beer (Hucka is referring to the now numerous bottles on the same table). Edward has disappeared. I believe Edward and Ray are [a 2 part animation] of one figure, as Peter Gabriel is both woman with fox head and Rael in parts 1 and 2. The many bottles appearing now represent the passing of time — something to mark it clearly in the collage. Just as Foxtrot (album with fox headed woman) is a bit before Lamb (album with Rael character). Can you see?

bb:

Sure.

Hucka D.:

And now… a most controversial part. What are they seeing?

bb:

You mean what are they seeing appearing on that stage. Well, it’s a tiny artist studio owned by Sam Parr, artist, one of the 5 Sam Parrs who own the college through sueing rights.

Hucka D.:

That is correct. There’s Sam Parr, model, Sam Parr, artist, Sam Parr, entrepeneur, Sam Parr, park warden and hatchery administrator, and then Sam Parr… not sure of the 5th.

bb:

Well return to that. The artist’s studio is owned by the artist, however, and is flawed. It is something of a lemon. It functions as a *studio* okay, but, say, if it were a *space capsule*… (*footnote)

Hucka D.:

… then you’d have problems. Yes, it is a lemon.

—–

“We have an astronaut coming into focus in the picture as Gabriel stands back and looks at Sam Parr 11 within Sam Parr 10. The astronaut becomes “focused in” as the artist studio in Sam Parr 11 becomes out-of-focus. The same picture statuses are reversed in the first part of the Sam Parr 10 animation, with the studio being focused and the astronaut not.”

Hucka D.:

This is important. Why is this so?

bb:

It’s dangerous for both to be in focus [at once].

Hucka D.:

Yes, that is correct. What else?

bb:

The picture predicts that the events symbolized in the second animation will become understood in the near future. This is what Ray and Peter see as well.

Hucka D.:

Correct again. What else?

bb:

Kubrick *saw* this too.

Hucka D.:

Correct. What else?

bb:

He saw murder. [Delete name] was right. The VW car [at the beginning of The Shining] was a lemon, per Andy Warhol’s famous print.

Hucka D.:

Redrum was just the opposite side of the door. Backwards, from the bathroom, it spelled the name forward and correctly. Correct.

bb (studying):

That might be the message of the “E” in the collage as well, which has a front and back, depending on what side of the Korean Channel you want to look at. And that “E” is probably the seed for the TILE religion as well. It contains all letters except 4. But those 4 are explained for by other means.

Hucka D.:

Fred knows. Watts. Watts.

—–

(*footnote): see here:

http://samparrart.blogspot.com/2010/11/studio-progresses-albeit-slowly-and.html

I realise now I should have paid more for the summerhouse in the first place! If you are thinking of getting one, I do not recommend purchasing one online from Homebase for around £500. It was rubbish, did not slot together correctly and has cost almost as much again in making good. The roofing felt was rubbish and needed to be replaced, the walls did not fit, etc etc, I could go on.

bb:

We might be able to finish interpreting the Sam Parr collage series this morning, Hucka D.

Hucka D.:

Put up your picture.

Thank you. Sam Parr, model, appears once more, as she did in collages 03, 04, 06, 07 of the series so far. Prepare your bank account. Here she has the head of a fox, or Redd Foxx to be specific. This is of course the comedian famous for his stand up comedy and also his 70’s sitcom Sanford and Son, where he played cantankerous, bigoted Fred Sanford of Watts, California, who ran a junk yard with his son Lamont. Foxx’s head is inserted here to cover the head of Parr, true, but also to indicate that he is now a member of Sam Parr State College, a study required to take the course “Composing with the colors red, yellow, blue”, among others. He is not allowed to take Karoz’s jewelry class because that was cancelled. Patty Pepper Mint is disappointed. Anyway — I’ll go ahead and talk some more — collage 08 is a mashup of 3 separate screen captures from the movie The Master, a rather thinly veiled parable about Scientology founder L. Ron Hubbard, as I understand. Oh sure, timelines have been squished together and spread apart, but The Master is Hubbard for sure. He’s more than Hubbard but he’s mainly Hubbard, see.

bb:

I see.

Hucka D.:

Thank you for seeing. The 3 screen captures have in common the inclusions of the 4 colors of TILE in broad form. This is of course very important — links all 3 together and the reason why you started to create the collage in the first place. You have explained the captures in an earlier post. I’ll let that stand. [LINK]. Lancaster Dodd, the L. Ron Hubbard double of the film, looks at the stage where he’ll introduce to a wider audience a phase 2 of his quote unquote religion, called The Cause in the movie.

bb:

I’m not sure director P.T. Anderson would agree with you calling Dodd a double of Hubbard. In ways, Freddie, who is actually the main protagonist of the movie, is as much Hubbard as Dodd is, according to some web sites. [LINK].

Hucka D.:

As you wish. But that stage, blatantly colored in the 4 TILE hues from this angle of viewing, is where the religion has its seed. And of course this is also where *TILE* is announced as a religion, perhaps by Karoz Blogger but perhaps by someone else. You understand that.

bb:

Yes, I suppose. Dodd, in the film, obviously has doubts about ramping up the stakes. He has doubts about his burgeoning religion.

Hucka D.:

Yes. It should remain, like TILE, a philosophy in the main and not a religion. And also a game. This is *TILE* directly impinging on the development of Scientology. At this stage. This is a direct message to *you*.

bb:

Trying to absorb that.

Hucka D.:

You are Dodd and, yes, also Freddie. Two in one. Foreign One. What do you do next; what’s the next step[ for TILE]? This is your question posed through the collage. Dodd is a hooker, in that he is a fisher of men. He hooks them with his charisma and sleight of hand. He dazzles them with mirrors within mirrors. You can be the same. Freddie is a hooked fish. You are Freddie. The hooker is merely a fisherman in this sense. The cartoon woman with a gun with HOOKER above her represents Sam Parr, artist, different from Sam Parr, model, and perhaps freshly emerged from a contraption on stage that no one recognizes at this point. The piano of the stage is actually a tiny artist’s studio, owned by this Parr.

—–

On stage is a man who is a hooker of fish, but the image is literal. In his hands are held 2 fish, perhaps perch but perhaps not. But the contraption returns, as it does in, let’s see, almost all the collages before this one in Sam Parr except, er, the first two maybe. Before things really get rolling. But this image is taken directly from Sam Parr 05. The fish are caught in Sam Parr Reservoir of Sam Parr State Park — literally again. The man is proud of his catch, and the actual man in the picture was inspired to make a primitive collage to celebrate. Er, what I mean is that the collage isn’t real.

bb (stepping in):

The collaged-in fish represent perhaps actual catches within the reservoir, if not the actual catch. The man turns into an artist for a bit, inspired by his love of fishing. He makes a collage. And then I make another collage with this collage — 2 collages in one. There were 2 separate collages that the man made, but the fish in the collage appear the same. Slightly later, I found 2 boats in GoogleEarth floating on this lake, the only 2 on the current rendering of the lake it appears, and these also appear basically the same. The 2 boats and the 2 fish must be related.

Hucka D.:

Yes. The boats, in GoogleEarth, are collaged into the map just like the fish are collaged into the fisherman’s picture of himself. They’re slightly different in each case, but it could be a result of slight resizing all around. You know the boats represent or point out basic harmonics of the lake’s structure. The 33 Line crossing the lake you found, pinned by the 033 Boat, is the higher octave of the fundamental note — 4-in-1 or Foreign One again. The doubled 025 boat is on a slighly shorter line not 1.33 miles long, as the original or base line or 33 Line, but 1.25 miles. Both cross Sam Parr Reservoir at its longest extremes possible for such lines. They are slightly different interpretations of the same, base line. This has something to do with the stage and TILE and Scientology as well. Can you guess it now?

Boat 33 (top) and Boat 25 (bottom) representing the 2 fish of Sam Parr 05, with 04 being directly carried over into Sam Parr 08

—–

bb:

Moving on for now — I’ll take a stab at that guess later — we get to Sam Parr 09, obviously another interesting one and packed with meaning. Sam Parr, model, makes yet another appearance, but this time she has the head of a jackelope and not Redd Foxx. The jackelope head stares directly at the viewer of the picture.

Hucka D.:

I’ll speak now. The antlers of the jackelope, which are obviously the antelope antlers of this yet another collage (jackelope equals fictional “collage” melding of jackrabbit and antelope) are a direct symbol of Sam Parr Lake. (pause) As you know now, Sam Parr Lake was created in 1972, around the same time as the park. Namesake Sam Parr was a warden of the park. His family may also sue[ you]. All Sams are one Sam in this case. Goes without saying, I suppose. Then there’s the Falmouth Jackrabbit formation above the lake, just north of the park. Little Karoz studies it from his perch atop the cube version of the Edwardston Station Gallery containing your entire Art 10×10 collages. Karoz *enters* this rabbit formation and becomes its size. Then he walks to the west in this much larger size and hovers over the actual hamlet named Falmouth. This is him studying the Falmouth collage series. You aren’t finished with it[ the interpretation].

bb:

No. Suppose not.

Hucka D.:

Karoz Blogger is smarter[ than me?]. His higher, serious green knowledge leaks out of his big brains to create Brush Creek flowing from Falmouth to Sam Parr Lake, to be dammed up to create the lake itself. He’s [serious green]. He combines the Falmouth jackrabbit with the Sam Parr Lake antelope to make a the jackelope you see emerging from the top of the cubic Edwardston Station Gallery. He has gone beyond the Art 10×10 now, which represents the cube form of square Jasper County, Illinois, as seen in another version of this gallery. [LINK] Sam Parr collage series is beyond the Art 10×10. Falmouth is beyond the 10×10. The lake is crucial now, combined with the [Falmouth Jackrabbit Formation]. Can you see?

bb:

Kind of.

Hucka D.:

You must adapt and absorb Karoz’s big green brains leaking out of his head for all to gather and damn or either praise. Damning them just moves you into Dodd territory. You create your own religion whether it is a mass religion or your personally made religion. All Religions are One Religion.

bb:

Not a whole lot of people would see that.

Hucka D.:

Karoz sees it. But does he still, despite this knowledge, take the leap and turn TILE into a religion itself, within the *game*?

bb:

I don’t know. Does he?

Hucka D. (repeating the question back to me):

Does he?

—–

Hucka D.:

The stacked rocks of Sam Parr 09 are the 33 Line of the lake. The go behind the antelope horns, merging as one with them. They are the 7 whole tones based on harmonics. The man clinging to a large sleeping bag that Sam Parr, model, holds represents a finish line for a Sam Parr State Park race of some kind. The end of the race, however, coincides with the damming of the lake. The end of the game is the damming of the lake. See?

bb:

Er.

—–

Hucka D.:

Jasper County and all the related collages, from the Rose Hill, Hildago, Yale, Newton, Jasper and Wheeler series of the Art 10×10, from the Falmouth and Sam Parr collage more current, all lead to this dammed lake. Sam Parr Lake. See?

bb:

I still don’t see. Maybe we should move to Sam Parr 10 and complete the series. Is this the end of the series, Hucka D.?

Hucka D. (leaping in and not answering):

Sam Parr 10 takes place in a past version of the Admin Building of Sam Parr State Park. We do not know the date, but I might guess late 40’s, early 50’s. 1850? Anyway, in this collage, which forms another animation of the series — let’s see, how many animations would we have so far?

bb:

Um, this would be the 3rd. And we also have 1 diptych. And then the last, Sam Parr 11, which is directly included in Sam Parr 10, also makes an animation. The animation of Sam Parr 11 is included and absorbed in Sam Parr 10. Queer effect. And the position of Sam Parr 11 in the current gallery is the same as the past position depicted in Sam Parr 10 — the far north wall of floor 01. Strange.

Hucka D.:

The Sam Parr hooker model returns. Sorry — its Sam Parr, model, with the head of a fox again but not Redd Foxx now. Instead an actual fox, or the mask representing an actual fox. This is Peter Gabriel, early 70’s. Actually it’s an image from the album Foxtrot, but Gabriel donned a fox’s head to sing songs off this album in concert, perhaps one in particular called Supper’s Ready. And that’s in a carrcass, baker b.

bb:

Definitely!

Hucka D.:

Then in the animation (Sam Parr 10, part 2), Peter Gabriel as Rael from a slightly later album called Lamb Lies Down on Broadway…

bb:

Another carrcass!

Hucka D. (correcting):

Well, not really a carrcass but an audiovisual synchronicity in that case (Tronesis). But the album is later than Foxtrot, true. Anyway he looks on at Sam Parr 11, which is included in Sam Parr 10 as you said, and in the exact same position in past building as (slightly remodelled) current building, the Sam Parr Admin Building to be precise.

bb:

Was this the Admin Building back then? Whenever back then was.

Hucka D.:

We’ll give “yes” as an answer to that. The woman-fox appears to the right of Sam Parr 11, just as a Foxx topped Sam Parr is found to the right of the same scene in Sam Parr 08. This is obvious to the staring Peter Gabriel-as-Rael as well. He’s looked at all the Sam Parr collages up to Sam Parr 10 and 11, and correctly absorbed. He is a Karoz.

Sam Parr 10 a & b

Sam Parr’s perhaps hubby dad appears at the door. Lancaster Dodd, also appearing, stares back. Like attracts like. Tiny art gallery has replaced the playing piano. Tiny gallery is like Dr. Who tardis? Why does it appear on this stage? Is it the 2 Sam Parr Lake boats: 25 and 33?

The piano is merely turned around a bit to reveal that it’s not a piano but this… contraption. The guy in the door is definitely the same as the man holding the perches and contraption from samparr08. They stand in the same place on stage. The fish (perch?) are caught in Sam Parr Reservoir. They must be the same as the 2 boats at 1/4th and 1/5th point along the 33 Line there. The 33 Boat (Point) defines the Line.

The piano is twirled around to reveal that it’s not a piano atall.

The red, yellow, brown, white, black “Hooker” is also found inside the shed.