2:23
Category Archives: collages 2d
Jasper County collage series
I believe the buck stops here: Falmouth.
Eliminating the original (2004) Greenup collage series (often skipped over in My Second Lyfe galleries), we continue to progress through the Art 10×10 at Rose Hill (2005), then Yale (2006) and Newton (also 2006) to Oblong (2007), which is also just outside of Jasper County like Greenup and not shown on this map. Then we finish out the 10×10 with Hidalgo (2008), Wheeler (2009), and Jasper (also 2009), with the Newton County seat subbing for Jasper County as a whole in this case. I thought the Jasper County collage resonance was over and done with. But last year I decided to name a new collage series Gila, continuing the process once more after a 4 year pause. This is not part of the 10×10, but an extension. I show this extension with the purple lines on the above map. From Gila quickly followed Latona and then Lis, part of the same 2012 flow. Then the 4 part Falmouth collage seemed to act as a capstone to what I started called the Gilatona Lis series, but seemed to not be an official series of its own. I still believe, now, the buck stops with Falmouth, then, and will not extend into other Jasper County, Illinois names like Bogota or Sam Parr (State Park) or Island Grove. Falmouth lies directly beneath Rose Hill, so it’s like the proverbial snake swallowing its own tail.
What will the new and brewing collage series be named, then? Otoe is an early choice, but that may change.
Another option is *Embarras*, named after the Embarras River which cuts through the *center* of the above highlighted towns and villages in Jasper County. Interesting.
blushing Embarras in relation to its river family.
Embarras, with midpoint in or very near northern Jasper County, connects that county and its collage systems to the outside. To Greenup. To Oblong and beyond. Perhaps the whole 10×10, the whole 10×10 extension in Gilatona-Lis, is part of Embarras.
Filed under collages 2d, Illinois
Collage 13
“This is the Place”
Alright Hucka Doobie. What is *this* about?
Hucka D.:
You used my full name. You *must* be interested.
bb:
Cool. I’ll go ahead and start. The figure in the middle, at its base, is Jack from the movie The Shining. His face has been hollowed out, so to speak, to let a cartoon version of his laughing face peek through, or bleed through. This would include the crazy, spiky green hair, the two asymmetrical bulging eyeballs, and the single tooth gaping mouth. In turn, the crazy mouth is hollowed out to show the field and path beyond. So in a way the Jack figure could be seen as a facade.
Hucka D.:
This is you. You and your job, your responsibilities. This is a perfect mirror. You are trying to reach through to the beyond, the place where you won’t face responsibilities as part of the facade. Challenges lie ahead, yet you already see the end. You have to go through these because Edna has her own set of responsibilities, outside of this. This is on *your* head.
bb:
So the prez is my boss, and also my co-worker.
Hucka D.:
Yes. Similar to the shark in the Falmouth series. Yet you’ve progressed even beyond that. You’ve returned from England, more mature. The shark aspect is more in shadow or outline. *All* look beyond now. A clock is ticking in the distance, yet keeps the same time. 2:23. That is what everyone is headed toward.
bb:
I am also Mouse. The Mouse.
Hucka D.:
Definitely. That is fear. Fear of Shark, in a way. Fear of axing even, perhaps. But it’s two mouths in one. There’s the shark’s mouth overlapped with the man-woman’s mouth. This has to do with beyond the facade, the job, the work.
bb:
This is a gateway collage.
Hucka D.:
Yes.
bb:
The setting is Frank Park, across the road from Bill Mountain but still close. In the background we have a mound. It use to be much larger when Edna and I made that film there. Perhaps I should post the film to Youtube: “This is the place” (title of film, perhaps). (pause). You know in looking at that mound, I think it is the older, larger version, the Tiny Silbury version. I think we see only the top of it from our perspective here.
Hucka D.:
Wyeth’s painting character… stares at it. This is Christina. You should study that painting.
bb:
I will. The fox jumping over the dog is reference to the… let me look up the word from the Nollop post, perhaps. Hold on.
Hucka D.:
Holding.
—–
https://bakerbloch.wordpress.com/2014/01/29/chat-3/
So it refers to the *pangram*, “The quick brown fox jumps over the lazy dog.” This is that fox, that dog. The fox jumps again. The dog lazes (in front of the mound). And it’s all in that speaking balloon. This is what Jack says.
Hucka D.:
And what shark says and what man-woman says. They all say the same thing. All are headed toward 2:23.
bb:
The corndog reappears from the Falmouth series as well. Shark hates corndogs. Corndogs are a symbol of laziness?
Hucka D.:
In part. Think bigger picture. What is the role of the corndog in the days beyond?
bb:
It’s still not too far from Jack’s hand. It’s there still. Lying in the middle of the path before Jack. Ready to be partaken of.
Hucka D.:
President Rutherford “Booger” Hayes then plays a role. He was last seen in this here blog eating corndogs, I believe.
bb:
Could be. Project Big Chimney.
Hucka D.:
Think about that project again.
Shark is not a bad shark. It is saying, think of the beyond. The quick brown fox jumping over the lazy dog. This is your challenge. You are *both* the fox and the dog. This is your decision point. The two tendancies, action and nonaction, oppose each other. This is your job and your not-job, one fitted inside the other.
bb:
And the mound between them.
Hucka D.:
This is the mound of the future. All gaze and ponder upon it. This is the place. No one has all the answers now, not you, not the boss, not the co-workers.
—–
bb:
Oh, and then the pea pod in the front of the collage, subbing for Jack’s left arm, is another reference to the Dunn novel “Ella Minnow Pea”. A pea pod is on the cover of the novel. This is the same pea pod that Baker Bloch found underneath the weathered bench at one end of Baker’s Isle in Second Lyfe — *his* Baker’s Island.
Hucka D.:
Yes. Further identifying you, baker b., with the central Jack figure here. This is LMNOP.
bb:
This is tiling.
Hucka D.:
Yes.
The island’s high council becomes more and more nonsensical as time progresses and the alphabet diminishes, promoting Nollop to divine status. Uncompromising in their enforcement of Nollop’s “divine will”, they offer only one hope to the frustrated islanders: to disprove Nollop’s omniscience by finding a pangram of 32 letters (in contrast to Nollop’s 35, or just 33 in the version “A quick brown…”). With this goal in mind “Enterprise 32″ is started, a project involving many of the novel’s main characters. With but five characters left (L, M, N, O, and P), the elusive phrase is eventually discovered by Ella in one of her father’s earlier letters:
February 11, 2014 · 3:50 pm
Red Rock (Collage 12)
bb:
Very bizarre seeming, Hucka D. I don’t like the blood splatter.
Hucka D.:
Neither do they (!). The splatter stands for the red rock and the pointy stick beside it. The rock is blood, true. True Blood.
bb:
Is it simply the noise that bothered them?
Hucka D.:
No. They want to…
bb:
Communicate.
Hucka D.:
Yes. All Seeing Eye. Colorado. Seal. Highlighted Snoopy Nose, like in Shot 61, I believe you’ve numbered it.
bb:
Numbered by someone else.
Hucka D.:
That shot was influenced by The Bills directly.
bb:
Interesting.
Hucka D.:
It is (!) How did they do that?
bb:
Let’s see: *noise* was highlighted by visuals in that shot.
Hucka D.:
Correct, good. Dog. Good dog.
bb:
So The Bill are trying to tell me through this that they did those mistakes in 61.
Hucka D.:
61 is highlighted elsewhere. Rat, for example. And Andromeda[ Strain].
—–
12:06pm:
bb:
So back to the collage (now finished, I believe). The hand is an alien one, seeming to emerge from the rhododendron to deposit the namesake red rock on the ice bank. Red is also on the hand in the form of (fake) blood, as in a movie. The collaged hand is that of not Jack Nicholson’s, as you would imagine if you knew the related scene from The Shining, but Stanley Kubrick’s himself. This is the broad scene…
http://en.wikipedia.org/wiki/The_Shining_%28film%29
Danny writes “REDЯUM” in lipstick on the bathroom door. When Wendy sees this in the bedroom mirror, the letters spell out “MURDƎЯ”. Jack begins to chop through the door leading to his family’s living quarters with a fire axe. Wendy frantically sends Danny out through the bathroom window, but it will not open sufficiently for her to fit through it herself. Jack then starts chopping through the bathroom door as Wendy screams in horror. He leers through the hole he has made, shouting “Here’s Johnny!”, but backs off after Wendy slashes his hand with a butcher knife.
Hearing the engine of the snowcat Hallorann has borrowed to get up the mountain, Jack leaves the room.
… and this is the part about it being Kubrick’s hand that reaches through the door, and from a specific source…
http://www.davidicke.com/forum/showthread.php?t=205856&page=47
After Wendy Torrence has managed to get Danny out of the window, her husband breaches the Bathroom Door and removes the panel closest to the door-handle. After some theatrics, he reaches into the Bathroom to try and turn the key to the Door. Wendy Torrence strikes his Hand with her knife – and his Hand is left with a fairly sizable slash mark. Given the significance of what I have recently described in relation to this Bathroom Scene, it is appropriate to note that the Hand we see entering the gap in the Bathroom Door does not belong to Jack Nicholson, it is actually Stanley Kubrick’s. This point was raised in one of the ‘Makings Of’ “The Shining” – the speaker citing the rationale that ‘he just wanted to do it himself for some reason’. I believe the reason he chose to use his own Hand has been clearly explained by the details in Key 6. His own personal appearance in this scene might be the last known instance of him appearing in one of his films. The only other instance I know of occurred twenty years prior to “The Shining”, when it’s believed he made a brief appearance in Lolita, disguised as Humbert, crossing the threshold into Clare Quilty’s mansion. As far as I know these are the only two occasions when Stanley Kubrick ‘put himself in the picture’.
Hucka D.:
The hand is then alien to the actors in the film — it’s the maker of the film’s instead. And this is the same for the situation in Frank Park. It’s the maker of the park. True.
bb:
Hmmm (again).
Hucka D.:
Do you not believe me?
bb:
Not sure, Hucka. Can you explain more?
Hucka D.:
The park — parks — are a virtual reality, just like a film. The “director” reaching through and displaying his own hand for those that know is a telling sign. Just like in The Shining for Kubrick’s hand, as your mata has guessed. He knows more than he’s letting on( however).
bb:
Let’s see… the red rock is like the splattered blood from the suddenly slashed or cut hand. It’s not a deep wound on the hand in the movie. The splatter even seems to make a meaningful pattern, and I’ve directly transferred this splatter into the collage. Lucy from Peanuts pulls a football away from Charlie Brown, making him fall down. But in the collage, Charlie is missing, although his “air trail” is still mainly present. In depositing the red rock on the bank, the hand risked exposure, and is slashed.
Hucka D.:
The rock *is* the slash.
bb (looking again):
Okay, thinking more down to earth, I could have slipped on that ice on the bridge, just as Charlie Brown (missing) did when Lucy yanked the football away. So it’s me that could have slipped and been hurt. Not slashed probably but still hurt.
Hucka D.:
Yes. But probably not as well.
bb:
Okay… the slip is a *reverse* of the blood splatter. It *slips back* onto the hand.
Hucka D.:
Correct (?)
bb:
In the collage, nothing is hurt, is injured. The injury is reversed back onto the hand. The “director’s” hand then retreats back through the broken door panel — unharmed. The All Seeing Eye is probably that of the same entity. As Kubrick probably created the film mistake over Snoopy’s nose, so we have the same type of effect in Collage 12 here.
Hucka D.:
The title is “Rats!”.
bb:
Thanks for that. Snoopy’s image comes directly from the Peanuts curtain in shot 61 — the same kind of curtain, I mean (and not a direct cull from that scene). Next might be the separation and categorization of black and white rocks. Black and white and then red all over. Red Rock.
Hucka D.:
Correction. The title is “Red Rock”. Sorry.
bb:
That’s okay. “Rats!” may be used later.
Hucka D.:
Apologies once more.
bb:
It’s okay; don’t worry( about it).
Hucka D.:
Black and white rocks next, then!
(12:23: larger ring effect on Peanuts curtain drape as dr. closes case; Snoopy’s nose highlighted)
February 10, 2014 · 3:12 pm
“Story Room” Animation (!)
My first real animation, modest as it is. Based upon the Otoe series collages, and the way they work best with each other in my mind. Created in Windows Live Movie Maker; excited about this (!)
Filed under animation, Carrcass Artists, collages 2d, MAPS, Murmur, Qbrick, Stanley, Shining, The, Story Room, Washington
The Story Room-ish Invasion
http://en.wikipedia.org/wiki/Good_Grief,_Idaho
http://en.wikipedia.org/wiki/Good_Grief,_Charlie_Brown:_A_Tribute_to_Charles_Schulz
Good Grief!
Filed under Beetles, The, collages 2d, Idaho, MAPS, Story Room
Shining Pepper Project 03
Collage 07?
Collage 08 TEST:
COLLAGE 09:
COLLAGE 10 TEST (animation):
Filed under Beetles, The, collages 2d, Maine, MAPS, Qbrick, Stanley, Shining, The
Steptoe Series 05
bb:
So we’re at Collage 05, which is not an animation. Like Collage 01, Collage 03. Unlike Collage 02, Collage 04. I’m not sure if Hucka D. is going to help me with today’s installment of a Steptoe collage series interpretation. We’ve discussed the relation of The World tarot card with the poster behind the Grady Twins appearing to Danny in the game room of the Overlook Hotel. We superimpose Jack as The Devil (Tarot card #15), replacing The World card’s bull (Taurus) in the lower left corner. Horned bull becomes horned Devil, and also Danny is playing a game of darts when he sees the Twins, with a *bull’s eye* at the center of the dartboard.
I’ve just talked about how Jack’s shiny eye pupil, near the very end of The Shining, briefly acts as a ring for a woman behind him in the photo. I’ve called her, for this reasons, the “Ring Woman”, and I believe she’s attached in mysterious, synchy ways to Ringo Starr, who also wears a prominent ring in the movie Help, and which gets him in a lot of trouble. This Ring Woman’s right eye also becomes, again briefly in a crossfade, a very prominent and easily noticable “3rd eye” of yet another person in the photo, a male this time, and further back in the crowd than even Ring Woman, who is in turn behind Jack at the front.
If we scrub out the faces of the 4 front and present Beatles on the Sgt. Pepper album (as opposed to the b&w “past” Beatles to their right), and then superimpose Ring Woman’s face on Ringo’s to center the now backing Shining photo, the following occurs. It’s perhaps interesting that in the translation both John and George’s faces become half black and half white, with John’s face almost exactly halved (black side: right; white side: left), and George’s quartered (black to sw and ne; white to se and nw). Paul’s face becomes one-eyed, very much like that of Johnny Weissmuller to his right. Just a note here.
Back to the Steptoe collage series analysis: Jack’s hand.
Jack’s hand in Collage 05 has been replaced by The Devil’s hand from the tarot’s 15th trump or Major Arcana card. The devil’s hand from this card appears scarred, just as Jack might wear a bandaid in the Shining’s July 4th ball photograph. It also could relate to palmistry and the various lines of the hand such as heart, head, and life or health. Recall, if you will, that the subject of palmistry and the hand has come up in connection with Herman Park’s Sharieland from the past fall, and that some of its major features have been identified with palmistry ones.
In what is perhaps the last collage of the Steptoe series — Collage 07 — we have the return of this same hand, but with “1.25” written underneath it in blue, like a caption for a picture.
0.125 is 1/8th of 1. Chapter 125 of the Tibetian Book of the Dead is where we find a description of the “weighing of the heart” judgment, also probably attached to this final Shining image. The Subliminal Synchrosphere blog talks about it here…
http://subliminalsynchrosphere.blogspot.com/2012/09/kubricks-shining-2001-aso.html
…you can see Jack seems to be tendering a piece of paper (a message) to the heavens (above) or to us….yet a man behind him seems to be trying to restrain him from doing so or is he attempting to correct/level the scales!?
Now look at the woman in the photo….look at the single feather & the heart. I think she is referencing the Feather of Maat.
http://www.egyptianmyths.net/feather.htm%5Dhttp://www.egyptianmyths.net/feather.htm
http://en.wikipedia.org/wiki/Maat%5Dhttp://en.wikipedia.org/wiki/MaatA great judgement…isn’t it?
The 20th card of the Tarot ‘major arcana’. The ‘horn of judgement’…that doubles as a prop to denote a New Years party and midnight.
Re: The synch…now if you have the music playing from 2001 : ASO (Thus Spake Zarathustar/the world riddle) and The Shining together…you’ll hear the very loud ‘brass’ sound of horns when we see this picture and the man with the party blower…denoting the horn of judgement blowing! (i only used the sound from The Shining, this time…so as not to confuse things too much, but it is important to realise the aforementioned ‘horn’ music!
In the Duat, the Egyptian underworld, the hearts of the dead were said to be weighed against her single “Feather of Ma’at”, symbolically representing the concept of Maat, in the Hall of Two Truths (Overlook lobby hall). A heart which was unworthy was devoured by the goddess Ammit (Amemet/Cyncocephalus) and its owner condemned to remain in the Duat (earthly plane). The heart was considered the location of the soul by ancient Egyptians. Those people with good and pure hearts were sent on to Aaru (afterlife, ascendence).
Arms….Jack looks like a ‘tipped’ set of scales….unfortunately for him, it denotes that his heart is heavy with sin! He is destined for the Duat or earthly plane, again!!! Heart on the right and feather on our left, as it is in the Egyptian references. Is the man with his hand on Jack’s arm also a reference to him trying to rebalance the scales…a possiblity to consider?
So in the 1921 pic he is both ‘baphomet’ (sodomy god, the beast instinct, above & below, microcosm & macrocosm) and the ‘scales’…double layering.
So I think the 1.25 is referencing this Chapter 125 and also the fraction 1/8th (more soon on the latter?). What of the rainbow shaped pattern of yellow balls in the background of Collage 07 here? I believe it represents a return to the beginning of the series and Collage 01. I imagine the location of Stipe Cememtery to be in the general vicinity of the illuminated “eye-ball” at the bottom of this rainbow, the pot at the end, if you will, but also at the beginning. We return here to Story Room and the central figure of Tom’s Petty High, also a golden triangle.
Collage 01: return from Steptoe Butte back to the Stipe Cemetery area.
Filed under collages 2d, MAPS, Qbrick, Stanley, Shining, The, Washington
Steptoe Series 04
A second, smaller Danny-head suddenly appears from the back of his first head, turning the opposite way.
What we have here in this 4 part collage animation is a meshing of several separate scenes from The Shining. The Danny related images — head, arm, dart, extra head — come from early in the film, when he first directly encounters the Grady Twins while playing darts in the game room of hotel the family’s just arrived at. Danny throws 3 darts at the board, scores no points apparently, (missing the scoring area each time) and then goes up to the board and pulls 2 of the 3 darts out before being “alerted” to the presence of the twins behind him. We’ve also spoken about how the board in front of him would have a backwards 2-3-7 in alternating numbers (culled from Kearns’ research once more). The last dart he pulled was right below the 3 in the center, reinforcing this. There’s no doubt, to me, that the character Danny sees all this, and attaches the dartboard with Room 237 later on in the film. He’s a bright boy — he “shines” even. 🙂
Why is Danny then throwing a dart at Steptoe Butte, and at a giant ear no less? We’ve identified the ear as that of Michael Stipe, lead singer of the REMs. Michael Stipe has been translated, through the not-to-be-underestimated power of Carrcass-1, into the variant Steptoe Butte (same name as the mountain), heading a variant band known as Murmur (in “our” reality, the name of the 1st album of REM). The giant ear seems to be about their music, since it is Stipe’s. I’ve already speculated, I believe, (writing this several weeks after the last collage interpretation) that this is more about the belittled early single “Shiny Happy People”. And this brings us directly to the second, major section of The Shining indicated in Collage 04 images: the Jack-Lloyd bar scene. Or actually scenes plural, since Jack visits the time warp bar on two separate occasions while living in the hotel. From the bar scenes, we have Jack’s head, Lloyd’s head, and the lighted top of the bar itself between them. In a two tier process, these second Shining elements emerge from behind the first (Danny-dart throwing). And in Collage 04c, we have an interesting transformation of Danny’s dart into what appears to be a cigarette or maybe a cigar. But perhaps it is a marijuana cigarette instead — a joint? Anyway, it certainly also doubles as a lighted fuse if so, and in Collage 04d, the final permutation, the background Jack-Lloyd stuff disappears in a flash of white hot light, taking Danny’s arm and transformed dart with it, and also the inverted VW bug (blue) rushing toward the mountain in 04a, 04b, and 04c. I suppose that would be another, different aspect of The Shining to figure in here — Jack driving the VW bug up to the hotel at the beginning of the movie, and then again (plural scenes once more), when taking wife Wendy and son Danny to the hotel after procuring the winter caretaker position. The VW has reversed position and color (yellow to blue) from Collage 03 before this. I believe it represents a switch from emphasis on Tom’s Petty High (Tom Petty variant band) to Murmur (REM variant band) in Carrcass-1, per the colors demonstrated in Collage 00, 01, and 02 already (red = Story Room, yellow = Tom’s Petty High, blue = Murmur). That Danny’s head rests atop Stipe’s torso and Stipe’s ear projects from Steptoe Butte in Collage 04 reinforces this interpretation.
Bull’s eye becomes Bull’s ear — what does this mean, then? We’ve all heard the expression eye for an eye (and tooth for tooth), which means retributions will equal damages done. The ear is on top of Steptoe Butte, and Stipe has become the same as Steptoe in variant terms… so the mountain’s top represents *his* top (or head — ears included). That Stipe’s *eye* shows up on Danny’s bigger head in Collage 04d is telling… as the ear disappears at the same time after being present in 04a, 04b, and 04c. I believe that the spirit of Danny has quote unquote possessed the head of Stipe, or Stipe allowed this takeover — for the purposes of enacting the collage animation. When the process ends, i.e., the Jack-Lloyd elements have been manifested and then destroyed, in effect, then Danny can allow Stipe to repossess the head, eye returned (and perhaps the rest of the head’s elements shortly). The smaller Danny head then emerges from the back of the larger Danny head, which is being returned to Stipe, we’ll say. This smaller head then becomes the true Danny-head after this. The head turns around from the position of the first. In The Shining, this is when Danny turns his head away from the dartboard to view the Grady Twins. The dart game appears to be over, just as the Jack-Lloyd bar elements of Collage 04 and the Steptoe collage series as a whole have ended.
Moving on for now: what happens in Collage 05?
Well, The twins are also seen there (!), but in a grassy meadow and not in the game room. We’re still near Steptoe Butte with this picture’s background, so one can imagine the smaller and now truer Danny-head actually sees this collage when turning around from Steptoe Butte itself. He sees the twins, but he also sees Jack from the very end of The Shining movie, positioned like The Devil in his namesake tarot card as also already talked about quite a lot in this blog. I’ve also seen discussion about the Grady Twins being identified with The Twins card (card 6 of the Major Arcana, as The Devil is card 15), and there’s actually a degraded version of what appears to be these same twins in card 15, now loosely chained to the devil itself and not free.
And there’s yet another tarot card more obviously present in Collage 05: The World, its final (21st) trump card. Behind the first physical appearance of the Grady Twins in the movie is a controversial poster seeming to depict, in a lower resolution capture, some kind of horned being surrounded by what might be an ourobouros image, or a snake swallowing its tail. To me, it seemed very similar to the circular wreath of “The World” card, and earlier in this blog I made an attempt to overlap the two and discuss the results. Through Collage 05, I’ve now more successfully integrated the two, and also incorporated Jack’s image as the devil. How is this done? Through the bull pictured on The World Card, which lies in the lower left corner to us. Simply put, I substituted the bull’s head of the card with Jack’s, or, more accurately, superimposed Jack’s head atop the bull’s. The bull represents Taurus in the card, one of the four fixed signs of astrology along with Leo, Scorpio, and Aquarius. Each of these signs are represented in the card by figures: bull for Taurus as spoken about, lion for Leo, eagle for Scorpio, and man for Aquarius.
“The World” tarot card.
Danny first sees the Grady Twins, w/ controversial poster under discussion highlighted.
Filed under collages 2d, MAPS, Murmur, Qbrick, Stanley, Shining, The, Washington
Steptoe Series 03
bb:
As usual, Hucka D., I’m rushed for time, even though I should have a bunch of time.
Hucka D.:
Too many projects. Too many project reviews. That’s good!
bb:
So I’m enlisting your help again.
Hucka D.:
No. You can do it.
—–
This is Collage 4 of the Steptoe collage series, which is in four parts of an animation. We’ll call these 04a, 04b, 04c, 04d. The above is 04a. Hucka D. wants me to do this alone. We have Jack’s VW bug, but reversed in color from yellow to blue, and heading the opposite way from the previous collage (Collage 03) already reviewed. Jack’s son Danny from The Shining also re-emerges here, or at least his head and arm. He’s already appeared the Steptoe series in Collage 02, also an animation, and taking place in the midst of a small Washington state cemetery named Stipe (variant name: McConnell). Collage 03 also takes place in the same general vicinity, or at the entrance to the same cemetery. In Collage 04, we also haven’t moved far away, staying in the area to visit Steptoe Butte about 10 miles to the nw of the cemetery. The butte is a very prominent landmark, rising about 1000 feet from the surrounding, flatter terrain. It can probably be spied from the cemetery itself. So what is happening in the 4 part Collage 04 animation? The figure of 04a has Danny’s head, true, but a different body. It’s that of REM lead singer Michael Stipe, culled from an earlier Jan. blog post. Danny, with his own hand, is playing a game of darts not with a dartboard but Steptoe Butte itself, with the traditional board’s bullseye being replaced by an ear. Eye for an ear. It is then a bull’s ear. So what does *this* mean? Hucka D. is still not going to help me. The ear is that of Michael Stipe again, severed from the head and placed near the top of the butte. As Stipe is a musician, we might assume this has to do with hearing or listening to his music. And I think the particular song inferred here is “Shiny Happy People”, as will become evident during the animation’s progression. So here we have ear substituted for eye; Michael Stipe’s body substituted for Danny’s; and Jack’s VW car and car shadow reversed. Keep in mind as well that Steptoe Butte has become a variant name of Michael Stipe himself — Michael and this standalone mtn. have become one and the same in the collage series. As Stipe/Steptoe Butte have been assoc. with the color blue through the cube topped Story Room figure, it seems that the change in Jack’s VW color signifies that we have moved into REM territory and away from Tom Petty’s yellow.
Tom Petty’s signature song of Carrcass-10 is “Running Down a Dream”, dubbing the very first part of the movie where we have the golden bug navigating through huge Montana Colorado mountains. If we run with the current theory, then the REMs’ primary or significant song is “Shiny Happy People”, although their later hit “Stand” is also included in Carrcass-10 (as Petty’s “Don’t Come Around Here No More” represents his own second and last entry in C-10). The reason I believe this is that pictorial elements dubbed by this song in The Shining begin to appear in Collage 04b, which would be the Jack-Lloyd scenes at the bar of the hotel’s Gold Room.
The dart and the ear are still there, true, but behind them is now the head of Jack and Lloyd respectively. Also significant is that the lighted bar glass appears in the road below them, a seeming continuation of the white trailing VW from 04a. The original photo I took all 3 of these Gold Room elements from is this one.
In Collage 04c, the held dart and target ear have vanished altogether, leaving us with a plain view of Jack and Lloyd the bartenders’ heads. The inverted blue VW has reappeared, but further away and on Steptoe Butte itself now, forming a tight pyramid-type triangle with the 2 aforementioned heads.
This is a continuation of the animation of 04a (car with light shadow) and 04b (lighted bar top), and now it can be inferred that the bar itself is one with this inverted VW and its shadow. The road leading to Steptoe Butte gives the appearance of a runway (related to Petty’s “Runaway”??), and I think back to the Barry-Shin(i)n(g) 03 post and the close proximity of Barry, Minnesota with a Stanley Field airstrip.
Danny’s dart also seems to have transformed into a cigarette, losing its red tail in the process. A wiff of smoke emerging from the point opposite Jack gives the illusion that he’s smoking this “cig”. I believe this particular drug vice is substituting for the Jack Daniels drink that Jack actually partakes of at this bar, as poured by Lloyd the bartenter. Smoking a cigarette equates with drinking the Jack Daniels in a glass.
*But*, in reference to the next and last part of the 4 part Collage 04, the cigarette also infers a lighted fuse that, when burned down, will *explode* Jack and also his bartender, his inverted VW heading right for him, and even Danny’s arm holding the cigarette/fuse.
Filed under collages 2d, MAPS, Qbrick, Stanley, Shining, The, Washington
Sunklands 
