Category Archives: collages 2d

Edwardston Again.

We follow another day in the life of VWX Town citizen Edwardston Resident. He wakes up in the Home o’ Fibs, his claimed residence…

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… and takes a look out the window to see if any major changes have occurred in the town since he went to sleep. None spotted.

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He decides to do some meditation this day before heading out into the virtual world. A little synchronicity here: note that the position of Edwardston’s arms here are almost exactly the same as the ballerina’s he tried to identify so hard with the day before.

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Perhaps thanks to the additional calming influence of the meditation, Edwardston begins to think outside the VWX Town box, taking the perspective of a green crystal shaped skybox on the neighboring property to the west flying the rainbow colored flag.

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Edwardston also makes an identification this morning between the neighbor’s rainbow flag (left center) and the similar rainbow colors of the Temple of TILE’s labyrinth, also glimpsed in the above snapshot (right center). This makes another kind of one-to-one match for Edwardston using this particular perspective I, his user, provide for him once more.

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Edwardston looking toward the neighbor’s low skybox from his back porch. Two rainbows can be glimpsed.

He heads over to the Power Tower Gowlery, remembering that the same labyrinth was also in one of the 1st floor collages (Gila 07: “Temple Dors”).

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In looking at the other collages in the gallery, he notices that the Temple of TILE building is in not one but several, including Gila 05 (“Height and Depth”)…

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… and also Latona 01 (“Exodus”). “Exodus from what?” Edwardston finds himself thinking. “Is this a picture of the fabled Pietmond? Is this the *end* of Piemond?” If Edwardston would have peered a little closer at Latona 01, he might have made out the name New Pietmond on a dark structure just below Spongebob’s pineapple house. So Edwardston kind of got it right: the picture is about the dismantling of Sikkima’s New Pietmond, which existed just south of Rubi’s VWX Town in early 2013. Edwardston hasn’t made that connection yet; that Baker’s lived in this area a number of times with different sets of builds as a result.

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Edwardston moves up to the 3rd floor and the Lis series, taking another look at Lis 09 (“Up into Victory”). He understands this is about resurrection, and correctly associates it with his own recent birth as VWX Town resident.

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This red haired figure from the following collage (Falmouth 01) is somehow him… reborn in this town in this time. It is both a man and a woman in one, he realizes, staring at it. He even attempts to physically merge with the figure, as he had earlier done with the Confluence ballerina (and Bracket Jupiter had done with The Shining’s Jack). With less success this time — the red haired being was a little too large for the match.

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Edwardston teleports outside VWX Town toward the house with the rainbow flag. His figure smushes together into a ball shape, and he feels he is being rejected and punished for not being able to do as Baker Bloch wished and identify with the town’s central ballerina at the Confluence Place.

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Soon his correct form pops out from the ball again, but he still feels exiled. Dejected, he decides to head away from VWX Town in a southwesterly direction, soon finding another small community in Rosieri. “Could *this* be a new home?” he thinks while wandering its deserted streets. No, it would not be. I don’t think.

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New twist (literally!)

Baker Bloch and Edwardston *finally* get to visit 3 Stream Pool and the Confluence Ballerina. Once again, Edwardston can see Baker Bloch but not visa versa. Baker experiences disappointment: Edwardston has no strong reaction one way or the other to the ballerina statue. The oddest thing that happened during their visit was pointed out by me, the objective observer of both viewpoints. From Baker’s perspective, he sat facing the ballerina, just as Edwardston did across the pool from him (although he couldn’t see Edwardston).

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To *Edwardston*, Baker Bloch sat sideways in respect to the statue, his body pointed directly toward the back wall of the Confluence Place. In other words, Edwardston’s Baker was turned 90 degrees from Baker’s Baker, or what Baker was experiencing in his own avatar body. Never seen this before. I would think Baker Bloch’s own viewpoint must be taken as the correct one in this case. Yet the *twist* seems synch-y, a message about the dilemma at hand (Edwardston’s non-reaction to the statue). Should they look at the situation from a new, different angle instead of just head on or as a one answer problem? Turns out that’s what needed to be done.

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Just for the record, Bracket Jupiter and everyone else in my avatar family that I’ve tested so far can see Baker Bloch in grayed out fashion, but he only sees any one of them as mist. The only avatar I haven’t tried out in this way is Karoz Blogger, who hasn’t shown up in VWX Town yet.

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Hucka Doobie’s VWX Town perspective has added twists. On occasion, his world breaks down into spectral colors such as seen below. This doesn’t seem to happen to any of the other avatars.

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Pretty isn’t it? And I promise Hucka Doobie wasn’t on any hallucinogenics when I peeped through his peepers for these shots. 🙂

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Back to Edwardston: He tries so hard to identify with the ballerina, for Baker Bloch’s sake. He idolizes Baker, but still no strong reactions when he crawls into her skin as best as possible (mimicking Bracket Jupiter’s earlier fusion with The Shining’s Jack Torrence). A possible solution would come soon, however.

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Baker goes with Edwardston to the Toxic Art Gallery to take a look at that orange dog he *does* have a strong reaction to. This particular example involves the Jasper 04 collage. Edwardston correctly identifies the dog as a specific type of dingo, a rare American breed. And that’s a representation of me, baker b., up there with the dingo on top of that cliff in Jasper 04.

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Continuing Adventures of Edwardston Resident 01

He’s not quite sure how it happened, but when our Edwardston R. touched a certain picture he had rezzed in his Home o’ Fibs residence and accepted some inventory, he was almost instantly transported to this location. He recognized that it was the same location as in the picture. Long time blog readers of mine (the hoards, the hoards!) will know this to be the infamous 97/97/97 spot in Lanestris, in the black heart of Virtual Hotel Chelsea village in front of the uber-poisonous and noxious Purple Tower. Provencial Edwardston was panicing (“How do I get back home, how do I get back *home*??”) when he remembered he could just hit the home button and return, an escape hatch in effect. He’d learned this trick several days ago.

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While he was thinking this, an art kiosk greeted him; he knew the drill from being based so near two of Baker Bloch’s galleries and their own kiosks (Power Tower Gowlery and also Toxic Art Gallery). So why not check out this stranger gallery while he was in the area? Trouble was, he couldn’t find it when walking around on the ground level of the town. He had to use distant vision (which he had only recently discovered as well) to locate the gallery above him at a certain point, and used the sole gallery seating to sit in and lift himself up into it. All of us who’ve been in Second Life for a while know that trick.

But to be honest, he wasn’t that impressed with the art…

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… nor what he could see in the other box-sized galleries strewn throughout the rest of the dense urban area. I think the problem was that Edwardston had no pesonal connection with this art, unlike with some of Baker Bloch’s collage work. But I might try to subliminally get him to return and re-check things out here. After all, it was me who made him come here in the first place with the inventory “mistake”, as he thought of it. He’s still very naive to this world. But, in different degrees, we all are.

Edwardston certainly did appreciate the immensity of the virtual Chelsea Hotel itself, the centerpiece of the community. And I think he did understand in some way that this community, this village, was the twin to VWX Town he was searching for, and not long destroyed Pietmond or even the more recently abandoned VWX Town in Philudoria.

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Returning home, Edwardston decided it was finally time to suck it up and take a tour of the Toxic Art Gallery located just next door to his home.

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He found the art on the first several floors more engaging that what he saw in VHC village (again, because it was more personal to him, and not a comment on the quality of any art involved), but it was only when he spotted a representation of Esbum Michigan in a collage on the 4th and last floor that he really perked up.

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And a tiny Baker Bloch was found below Esbum as well. He was about to enter a forested region of what Edwardston knew now was called Real Life, or the real world. But the observing Edwardston was curious about the greener square (or near square) of forest in the collage’s center. The vivid, monochromatic colors looked more like Second Life trees, pine trees to be specific, like the ones in back of the Home o’ Fibs. The Rubi forest was instead populated by a mixture of cypress and eucalyptus trees — not pines — so it couldn’t be a collaged image of that. So Edwardston’s thinking was that we have Esbum here — Second Life avatar — and Baker Bloch — another SL avatar — and perhaps a square of forest from SL, and then real life stuff arranged all around this. Was Baker Bloch attempting to enter the virtual forest but blocked by the surrounding, real forest? Was it like trying to find the center of a concocted labyrinth? And what of the giant Esbum Michigan hovering above? The framing orange dogs (same dog?) showing the way in and the way out?

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Then two pictures to the right, Edwardston R. finds another familiar image: the orange, floppy topped entity seen in an Esbum related snapshot found in his inventory not long after arriving in Rubi, an image Edwardston thought might be a representation of himself somehow. Here the being, now equipped with a body for moving about, appears to ascend a mountain beside an L-shaped gorge. The line of white cars in the foreground appear to be heading directly into the gorge, or, better, represent a continuation of the curving line of the gorge within the picture.

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The next picture seems to be a direct continuation, with the orange alien transformed into a dingo as he reaches the top of the gorge. The cars in the foreground now avoid coming up the gorge toward him, and instead keep heading down the broad cement highway in the center of the collage, toward a large blackbird. The prominent stick of this picture is upright or “raised”, in contrast with its horizontal twin from the previous collage. “A gate closed, a gate open,” Edwardston thinks at the time.

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Then *both* sticks appear in the next collage — Edwardston is just continuing to move to his right, following the gallery walls — along with Baker Bloch again; *5* versions of him, in fact. And it took Edwardston a minute to pick out Esbum Michigan behind the Baker Bloch in the green chair. Edwardston Resident would have had no contact with Hucka Doobie yet, and so wouldn’t know who he was (pointing bee avatar in lower right corner of the work).

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Edwardston looked through the rest of the collage collection on the 4th floor, which was actually the entire 20 work Wheeler-Jasper series I created in early 2009. He found more interesting images within, but the ones I’ve illuminated so far still stuck out. Then he teleported to what he thought might be another floor of collages but was instead the roof of the gallery. The alignment between where he was standing on the Toxic Art Gallery and the Church of The Diagonal straight ahead of him (he didn’t know it was named this) struck a chord. Another seed was planted here: the idea of The Diagonal extending across not only the Rubi sim but the whole of the continent he resided upon. This alignment, he knew, could not be accidental. But this day, it was only an observation, and nothing deeper would come of it for a while. He didn’t realize that the very place he’d “accidentally” teleported to in the Virtual Chelsea Hotel community was precisely aligned with this same Diagonal. It would take a while for it to all come together for him.

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Looking the opposite way toward Rosieri. I think Edwardston would like to explore the parcel he sees there soon. This is the old home of Coke, an acquaintance I first met way back in 2008 Azure Island days, before I’d even moved to Rubi and the mainland. An original paradise of sorts. I’ll have to tell what I know of her story soon as well.

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I next sent Edwardston to the Power Tower Gowlery so that I, baker b., could take a look at a particular collage: the terminal work of the Lis series, and what could be considered the second to last collage of the entire Gilatona-Lis mega-series within the Power Tower. I wanted to compare the imagery of this work with the Judgement card mentioned in the post just below mainly concerned with The Shining.

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This is the specific image I wanted to compare it with. I’ll have more to say about all this soon — too long a story to go into here, probably.

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Edwardston also revists the Falmouth collage(s) on the floor just above this, again noting the red haired entity.

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He uses the conveniently placed teleporter to save a walk back down the various ladders and stairs to his Home’o Fibs next door. Just after then teleporting again up to the second floor (his bedroom) from the first, he notices *two eyeballs* staring back at him from the window. You’ll most likely have to enlarge the below snapshot to see what I’m talking about here. But the illusion is blatant and symmetrically effective.

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Edwardston quickly realizes these are two eyeballs from the many in the Wall of Eyes he can view from this window. But he understands the “accident” has meaning as well. Someone *is* looking in on him. He approaches the window and sees in the distance what looks like a brown colored creature, staring up at him or, as he studies it more, perhaps at the newer, oval shaped building in town more to its right. A name suddenly springs to mind: Barrel Building. And the creature is Catman. Edwardston quickly understands that the “creature” is just the trunk of the same palm that produced, within its fronds, the illusion of the backwards turning figure before. But, all the same, he just as strongly knew this was Barrel House and Catman he was staring at through this window, and that Catman is somehow his manifested fear of progressing beyond the prickly, impeding cactuses toward the structure topped by the giant, yarn wielding cat. Quite a yarn (sorry).

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Burnt Octagon

Yesterday I noticed a similarity between VWX Town’s newly erected Marble Tower…

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… and a gazebo near the northeast corner of Burnet and thus near The Diagonal passing through same. For now I call it the Burnet Gazebo. Both it and the Marble Tower are based on the number 8, a number also strongly highlighted by the previously discussed Joe’s Garage octagon in lower Burnet.

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I decided a link should be effected between the two, and am even tempted to rename the VWX Tower in question the Burnet Tower. Probably won’t, because I like the name Marble Tower, and it’s not close to the Burnet sim unlike the gazebo. Compare its colors with here (a form of agate or aggie marble)…

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A chart showing the relationship of The Diagonal (blue line) and attached elevations (pink line) as it passes through Burnet. The master number again for Burnet is 32, where the number of the Diagonal becomes the same as the number of the elevation in meters. 32 is 1/8th 256, and thus 1/8th up Burnet’s Diagonal from the 0 point.

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The Diagonal as extended up from Burnet through Hooktip, Lanestris and Philudoria, my home sim and the site of VWX Town. Notice my Church of The Diagonal seems to be the only structure directly aligned with The Diagonal on this map.

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The Diagonal passes almost through the exact middle of the Hooktip train station, where Baker is sitting below.

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All these octagon based structures appear to also relate to the Billfork diagram explained in House Greenup’s Floydada, as pointed out to me by Westside’s C. Derek Jones during his several visits to me today. He wants to make sure that Northside knows its place in the bigger scheme of things, and that Westside and Westside alone lies on The Diagonal, making it super important and indispensable to VWX Town. Given that I don’t have any terraforming powers in Northside nor the ability to create linden plants, he need not worry as much.

I’ll perhaps get to more on the Billfork Core Diagram soon, then. On the surface, however, there seems to be a resonance going on between it and Burnet’s Joe’s Garage, specifically through Zappa’s inspired creation Billy the Mountain featured in a mini rock opera of the same name. Billy parallels The Bill of Billfork — explain more of that soon, then.

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An octagon shaped hut appears in a 1987 scetchbook of mine, with a purple martin flying away from it and toward a line of static filled televisions emerging from a nearby wood. A clump of trees (lemon, lime, lemon-lime) in an otherwise barren spot blocks its progression. This picture eerily predicts the future appearance of the Billfork diagram, which also contains a 9th “purple MartiN” symbol that separates itself from an 8 pointed octagon. It’s also an inspiration for Bark’s “The High Octave Story”. More on that soon as well.

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The octagon and martin, two in this case, make a reappearance in a more recent artwork titled “Saltzhole”. Also notice that the Marble Tower kind of looks like a chess rook.

“Saltzhole”

“Timescape Castling”

“Slipper Men”

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The Diagonal in the Greenup Series of House Greenup

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Baker searches for answers within Floydada, perhaps in vain or at least Washington, D.C.

10:51pm update:

I now think that the position of the 3 yellow submarines in Greenup 16 (and the parallel 3 burning cars of Greenup 15) might be related to the several successive master number locations on Tiretta’s Bank of Despair, as Hucka Doobie has dubbed it, perhaps specifically to Baker’s 3 expanded master number series there of 35, 36, and 37 all. See here for an illustration.

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Whitehead X-ing Thoughts

Some thoughts while I have them in my head upon rereading old blog entries about this most central of all Frank Park locations, it seems.

Hucka D.:

I am here to help. You have Grey Rock, you have Seal Stone. You have No Title Spring. You have the yellow brick road leading to the 50 bottles region no more [“Goodbye”]. You have The Rocky Trail, which goes into and beyond Grey Rock. You have Rock the Rocket Man, who crash landed next to Green Stream and took The Rocky Trail to Green Turtle. Green Turtle was also known as Green Parrot. On this same finger of land is found Edward Stone, a bleedthrough of Edwardston, which also happens to be near a Green Turtle[ in Mythos].

bb:

Which of the stones is Seal Stone, Hucka D.?

Hucka D.:

A choice. Some people go both ways — and so forth.

bb:

I think I see. ‘Course the names could have shifted around. What about the Orange Hill?

Hucka D.:

Castle Dundee. Home of Mr. and Mrs. Dundee. Who owned the dingo.

bb:

Is there, then, a Line of Dundee?

Hucka D.:

Might be.

bb:

High Octave Castle, then.

—–

dingo rise/fox fall

—–

bb:

And then just a little more — I think Rock would have found The Grave and thought it to be Whitehead’s, the originator.

Hucka D.:

Marble City. Marble Falls.

bb:

Whitehead X-ing is such a complex area!

Hucka D.:

You build on Fantasia Brick Road and take it to the next level. Also: Fairy House. Like Elton John is a famous fairy, in a positive way.

bb:

The [diamond patched] tail wags the dog.

Hucka D. (correcting back):

God.

http://davewainscott.blogspot.com/2011/01/peter-gabriels-mercurial-disruptive.html

—–

4/23/13:

“The evergreen grass atop the finger of land between Little Whitehead and Whitehead Brook, Hucka…”

“Fade To Moss” Production Shots

The same post talks about Rock’s grave, which is not his grave in the production shots of “Fade to Moss”. Wonder where Gene Fade is on that?

Rock’s grave, however, obviously strongly resonates with the tiny Dogpatch Cemetery only found very recently. Rock, I believe, would have stumbled upon it — could have stumbled upon it — in his explorations of the area.

When does Rock created his twisty turny tale, where he’s a bad guy instead of a good one? It’s to disguise his whereabouts and doings. He thinks like a syncher.

Do the yellow bricks hidden at Tinsity come originally from Whitehead X-ing?

I believe that Herman Park’s Billfork originates in Whitehead. Mossmen used the Spoon Fork portal system to reach Green Stream and the Korean Channel. At the upper end of the Korean Channel is Whitehead X-ing; Jeogeorock, which is Grey Rock. Had the Mossmen already found other jeogeorocks? Possibility. They traditionally come from Moss Most, an original settlement far up Spoon Fork from Frank Park, just at the edge of where it knives toward Frank Park and the portal system. Then they reached another historical node at Mocksity, downstream, then also Notherton across The Way. This is where knife truly acts as a medium between formerly cross Spoon and Fork. Perhaps The Way had not even been created (until then?) — makes sense. Gene Fade, eventual actor in all those Salad Bar Jack adventure movies, born at Jupiter Rock above Nothernton, on what is called simply Gene Fade’s Mountain in this here blog. Some say the red spot on the rock is a jewel, perhaps a ruby. But related to this one found in Second Life on the yin-yang style Bracket Islands of the Corsica continent [LINK]. Gene Fade used [My Second Lyfe] avatar Karoz Blogger to create the ruby or jewel (or a virtual rendition of such?), with, again traditionally, 32 prims or 32 facets. This is the Korean Channel. Gene Fade must have learned about the fabled Korean Channel while growing up in this Jupiter Rock/Notherton area. It was an ultimate destination, like Utah or Deseret was for the Mormons. Gene Fade desired greatly to go to this Korean Channel with its Green Stream (full of emeralds and rubies and diamonds?).

News came from afar that the Korean Channel had been sealed up for the spring/summer months. Mossmen settled in Red Head beyond the upper end of the channel, but still on Green Stream. They hid… their avatar bodies able to move through the thick rhododendron, but allowing no human humans access (like me!). Mossmen first made friends with The Bees (like Hucka Doobee) at neighboring Greenhead, strongly resonating with the honeybee name origin of Deseret in fact. There was a confusion about colors… with Red Head at the head of Green Stream and Greenhead at the head of Red(stream) [LINK: MISSISSIPPI]. Another essential energy was added to the mix with the crash landing of Rock’s Rocket at the upper end of the Korean Channel, or at the lower end of Whitehead X-ing — what would become this city. He used The Rocky Trail to move into Whitehead Crossing proper (all the imp. rocks along this path have become legendary) and settle not in the modern version of the city but at the old Green Turtle/Edward Stone region between Whitehead and Little Whitehead. The crash would open up a portal to Maine as well, allowing a single fairy to escape from Monhegan Island there (through the overlapping Little Whiteheads). This fairy, larger than any of the rest on that island, was a psychic double to Rock, and created his home in the fairy meadow on the east side of Green Stream from the crash site. Rock’s crash also highlighted the importance of Grey Rock and its accompanying Seal Stone.

But since Rock created a twisty-turny tale, disguising his actual story, the fairy could have also been Rock himself instead of his double.

Continuing this Maine-Whitehead X-ing parallel, we have the Maine Trail, a play on words of Main Trail, which would be the main trail of the area, to the west of Whitehead X-ing and connecting Jacob I. Road with the now paved or asphalted Twisty-Turny Road (just coined!).

Before I forget, there’s also probably a Crocodile Rock in Whitehead X-ing — maybe it is the same as the Green Turtle/Green Parrot, or yet another variant name of this formation.

The could have even been a battle or a war over what the name was for this particular formation (Green Turtle vs. Green Parrot).

Back to Rock… he would have passed Grey Rock with its Seal Stone on the way to Little Whitehead. He would have crossed Little Whitehead and entered Edward Stone proper (or whatever the town was named then — perhaps Green Turtle?) on the old fairy bridge (made by fairies but apparently the smaller or more traditional type). The fairies were hired from Monhegan Island (by whom?) So this “fairy bridge” becomes legendary and attached to Rock’s legacy as well. Another tradition says that he crossed into Edward Stone from the larger bridge at the present source of Little Whitehead, and over which you can clearly see the green turtle formation.

Revision: If the village is named Edwards Stone, then I think this means the Green Turtle oriented people won the war over the Green Parrot favoring tribe, who instead maybe moved upstream on Whitehead Brook to Rock’s Meadows and Rock’s Rocks, the upper limit of Whitehead X-ing. Rock would eventually make this his people instead of those at Edward Stone favoring the Green Turtle treatment of the formation. This is also like the Green Parrot province of Mythos upsteam on Edward Creek from Green Turtle and Edwardston. Green parrot would have been the shape of the formation for, say, a *normal sized human like Whitehead.*

Some variations of the story have The Rocky Trail paved with yellow or gold bricks, but this is false most likely — road too small or narrow? Instead the gold brick road was the old entrance into Whitehead X-ing, when Old Whitehead actually lived there. *Is* Old Whitehead buried at tiny Dogpatch Cemetery? But the story is certainly similar to Dorothy’s entrance into Oz — the crashed farmhouse is Rock’s crashed spaceship; the Rocky Trail is at least symbolically the Yellow Brick Road, and Seal Stone is the Scarecrow, who doesn’t know which rock is named such (some people go both ways, etc.). If there are parallels to Munchkins, they would be the meadow fairies. Back to Grey Rock and Seal Stone: the phrase “rocks for brains” also could be pertinent. Then Edward Stone is the Emerald City, complete with skyscrapers at the time. In fact, it had an unusually *high* proportion of skyscrapers to regular buildings. The population was about 20. The population use to be 40, but was cut in half during the Green Turtle-Green Parrot battle/war, which ended in a draw. Therefore the population simply refers to it as part of the larger Edward Stone, and the city changed its name accordingly. Another mysterious part is the Orange Hill or Orange Cliffs, on which the Dundee Castle is perched, where Mr. and Mrs. Dundee lived. Their dingo use to be sighted as descending the cliffs, only to come back up as a fox. Or visa versa. The legend is in many art pictures of the period.

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Dingos descending represents the passage of life into death. Foxes ascending (to the Plane of Dundee) is death into life. They are Newborn on the Plane. They die at the bottom of the cliff where it meets Whitehead Brook. All this could be seen from Knobby Log, which was also inhabited. Knobs were homes — wood fairies once more?

Then it would be sacrilege to give No Title Spring a name, according to the fairies (?).

What did Rock find in Edward Stone? He found a population struggling to recover from the Green Turtle/Green Parrot wars. He made his home high above the town, but was able to see its skyscrapers still, so high they were. One skyscraper held the Art 10×10 (Wheeler-Jasper series). More fox-dingo images were within.

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“Cliffs of Dundee” (Waverly Knapp, c1812)

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actual cliffs — not so high

Hucka D.:

There was an alignment of art galleries. And perhaps labyrinths at the same time. The Line of Art it was called. 39 people use to live in Edward Stone, and also 0.1 of a person known as [delete name].

“The Fairy?” I proffered.

Hucka D. (continuing):

The range was 38.9 to 39.3.

bb:

39 point 3 point what?

Hucka D. (ignoring the silly baker):

The line ran across the Castle Dundee to Edward Stone, atop the Knobby Log. Because it was on the line, Castle Dundee was required to become an art gallery in due time. It resisted.

bb:

Why?

Hucka D.:

There was a famous painting of the Panama Canal by Waverly Knapp (c1812), but was defaced by Rocket Man and his Rocket with “Sirius or Bust” scrawled upon its side. Mr. Dundee did not understand that this was part of the art, and painted over it.

bb:

Crocodile Dundee!

Hucka D.:

Correct. Of “Crocodile Rock” fame. Dundee and Alligator on opposite sides of a county.

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Ocahoma: 61×49!

—–

One important collage of the Art 10×10 was stolen from baker b., in turn, by a former art school acquaintance named Waverly Knapp (c1812). baker b. himself stole part of this painting-disguised-as-a-collage for his Gilatona-Lis series (c1812). Mouse Island was seen as the destination of death, where the fox descended down to from the Plane of Dundee and its Dundee Castle. This is also the Promised Land (of Gill’s Pier). To keep from entering the promised land too soon, baker b. avatar must move the Pier’s Gill wagon atop the Cliffs of Dundee, a difficult task in the painting but easier in actual life (cliffs not nearly as high as in the painting). Important also is the triangle of elements in the painting “Cliffs of Dundee”. Critics knew that the green mouse of the painting was R. Booger Hayes’ Mouse Island, and the Promised Land where the true nature of the island is allowed to “play out” (like the green mouse plays the guitar in the painting). The children around him are [white-ish] rocks — Rocks Von Trapp. The Green Mouse is also known as Captain or Capitan. He earns this title in the Promised Land.

Hucka D.:

Also obviously important are the images of Green Turtle in painting. Oil painting was seen as highest art, like the high castle of Dundee atop the cliffs. Mr. Dundee, the person of High Octave (Art), made sure this was understood. So the collage formerly known as Jasper 04 became the oil painting known as the “Cliffs of Dundee”. In this way it is much like Max Ernst’s Elephant of Celebes, an oil painting also based on collage principles, and perhaps also indistinguishable from a collage from afar.

bb:

Check this out, Hucka D.:

Wilsonia Visits Gallery, Takes Pictures of Updates (1)

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Gilatona-Lis credits (Brian Robert Marshall, et al.)

Along with images taken directly from GoogleEarth Streetview, Brian Robert Marshall’s UK geograph photos make up the bulk of primary or base location shots I’ve employed for reuse in the Gilatona-Lis collages. I’ve talked a bit about the history of this borrowing here, an extension of my “Baker Bloch in England” 2010 project. More Gilatona-Lis sources coming from UK geograph include pictures from Des Blenkinsopp and Andrew Smith.

Below I’ve attempted to identify all the source links for location photos used in Gilatona-Lis collages, including the contributor’s name and whether it plays a primary or secondary role in a specific collage. Note that a number of the collages mix several different sources of this kind, Lis 01 and Lis 03 being extreme examples here. Whatever the source, almost all primary and even secondary locations are from Wiltshire County, England, an area famous for megalithic sites, white horses carved in hillsides, and crop circles. That is, if we discount virtual locations from Second Life (Gila 05, Gila 07, Latona 01).

For time’s sake, I will not attempt to track down other images used in Gilatona-Lis — like cartoon figures; too many.

So here goes!

—–

Gila 03

http://www.geograph.org.uk/photo/1910760 (Blenkinsopp) secondary

Gila 06

http://www.geograph.org.uk/photo/608208 (Marshall) primary

Gila 07

http://www.geograph.org.uk/photo/1848699 (Blenkinsopp) primary
http://www.geograph.org.uk/photo/1947157 (Blenkinsopp) secondary
http://www.geograph.org.uk/photo/1947135 (Blenkinsopp) secondary
http://www.geograph.org.uk/photo/1910785 (Blenkinsopp) secondary

Gila 08

http://www.panoramio.com/photo/23374221 (Collin West) primary
http://www.geograph.org.uk/photo/1848699 (Blenkinsopp) secondary

Gila 09 (this is a picture of the photo from Second Life)

http://www.geograph.org.uk/photo/609670 (Marshall) secondary

Gila 10

http://www.geograph.org.uk/photo/608208 (Marshall) primary
http://www.oldbarnyoga.co.uk/images/TheOldBarn_2.jpg secondary

NOTE: Gila 06 & 10 employ the same background image & create an animation effect when combined. Such animations are common in the collages of the Art 10×10 (2004-2009).

Latona 00

http://www.geograph.org.uk/photo/408862 (Smith)

Latona 02

http://www.panoramio.com/photo/16059362 (purplekitten) primary
http://www.geograph.org.uk/photo/834226 (Marshall) primary
http://www.panoramio.com/photo/24339635 (Steve Gayler) primary
http://www.panoramio.com/photo/16059575 (purplekitten) secondary

Latona 05

http://centreportal.blogspot.com/2008/10/oz-born_17.html primary
https://bakerbloch.wordpress.com/2013/01/25/misc-pics/attachment/52369665/ (Marshall? — unable to find source photo location) primary

Latona 08

http://www.geograph.org.uk/photo/409328 (Marshall) primary

Latona 09

http://www.geograph.org.uk/photo/409337 (Marshall) primary

Latona 10

http://www.geograph.org.uk/photo/409354 (Marshall) primary

NOTE: Latona 08 09 10 is a triptych, based on 3 Marshall photos near the same location (West Woods)

Lis 01

http://www.geograph.org.uk/photo/2387363 (Marshall) primary
http://www.geograph.org.uk/photo/2387298 (Marshall) secondary
http://www.geograph.org.uk/photo/2386590 (Marshall) secondary
http://www.geograph.org.uk/photo/2387342 (Marshall) secondary
http://www.geograph.org.uk/photo/2387345 (Marshall) secondary
http://www.geograph.org.uk/photo/950005 (Marshall) secondary

Lis 02

http://www.geograph.org.uk/photo/2387438 (Marshall) primary
http://www.geograph.org.uk/photo/2387342 (Marshall) secondary

Lis 03

http://www.geograph.org.uk/photo/2388037 (Marshall) primary
http://www.geograph.org.uk/photo/2387393 (Marshall) secondary
http://www.geograph.org.uk/photo/2387400 (Marshall) secondary
http://www.geograph.org.uk/photo/2387404 (Marshall) secondary
http://www.geograph.org.uk/photo/2387413 (Marshall) secondary

Lis 04

http://www.geograph.org.uk/photo/2388024 (Marshall) primary

NOTE: Lis 03 04 is a diptych, based on 2 Marshall photos at the same location (Devizes)

Lis 05

http://www.geograph.org.uk/photo/382881 (Marshall) primary
http://www.geograph.org.uk/photo/382855 (Marshall) primary

Lis 06

http://www.geograph.org.uk/photo/1744705 (Marshall) primary
http://www.geograph.org.uk/photo/382881 (Marshall) secondary

Lis 08

http://www.geograph.org.uk/photo/885306 (Marshall) primary
http://www.geograph.org.uk/photo/885302 (Marshall) primary

Lis 09

http://roy25booth.blogspot.com/2010/09/shining-button.html primary

—-

And I suppose this is a good enough place to give the links to all the Gilatona-Lis interpretation pages…

https://bakerbloch.wordpress.com/2013/02/02/gila-interpretationassociations-01/

https://bakerbloch.wordpress.com/2013/02/03/gila-interpretationsassociations-02/


https://bakerbloch.wordpress.com/2013/02/05/gila-interpretationsassociations-01/

https://bakerbloch.wordpress.com/2013/02/06/gila-interpretationsassociations-04/

https://bakerbloch.wordpress.com/2013/02/27/latona-associationsinterpretations-01/


https://bakerbloch.wordpress.com/2013/02/28/latona-associationsinterpretations-02/

https://bakerbloch.wordpress.com/2013/03/07/latona-interpretationsassociations-03/

https://bakerbloch.wordpress.com/2013/03/07/latona-interpretationsassociations-04/

https://bakerbloch.wordpress.com/2013/03/11/latona-interpretationsassociations/

https://bakerbloch.wordpress.com/2013/03/12/lis-interpretationsassociations-01/


https://bakerbloch.wordpress.com/2013/03/13/lis-interpretationsassociations-02/

https://bakerbloch.wordpress.com/2013/03/13/lis-interpretationsassociations-03/

https://bakerbloch.wordpress.com/2013/03/13/lis-interpretationsassociations-04/

https://bakerbloch.wordpress.com/2013/03/18/lis-interpretationsassociations-05/


https://bakerbloch.wordpress.com/2013/03/25/lis-interpretationsassociations-06/

https://bakerbloch.wordpress.com/2013/03/21/falmouth-interpretationsassociations-01/

https://bakerbloch.wordpress.com/2013/03/22/falmouth-interpretationsassociations-02/


https://bakerbloch.wordpress.com/2013/03/26/falmouth-interpretationsassociations-03/

https://bakerbloch.wordpress.com/2013/03/26/falmouth-04-interpretationsassociations/

https://bakerbloch.wordpress.com/2013/03/28/falmouth-interpretationsassociations-05/

—–

PHEW!

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Falmouth Interpretations/Associations 05

(continued from Falmouth Interpretations/Associations 04)

“Don’t you think the triangle Baker Bloch is staring at or has just looked away from below represents the Summer Triangle?”

050617_summer_triangle_02

falmouth02final08

bb:

Could be Hucka D. The Bee.

Hucka D.:

In Falmouth 02 which you’ve just inserted above, Baker Bloch is also on one end of a [larger] triangle himself. Again this is the central region of the Koch Star [or Silbury Star] crop circle from 1997. But this is also one of the 2nd iteration triangle of the 4 part process Glick describes therein…

bb:

That’s Glickman. Michael Glickman.

Hucka D. (continuing):

Then…

bb:

Hold on, Hucka D. I just want to point out that Glickman, in that article, also states the diameter of the circle of meditators would be 0.222 of the circle containing the entire star. I’m remembering that the clock in Falmouth 03 has a time of 2:22.

Hucka D.:

Good to point out. So continuing —

bb:

The clock on the roof in Falmouth 03 and the circle of meditators on the roof in Falmouth 01 are the same.

Hucka D.:

Right. Now I’ve lost my train of thought. But thank you… good to point out once more.

bb:

Sorry.

Hucka D.:

The circle containing the overall star crop circle would be the same as a circle around the large triangle, or iteration 01. The diameters relate in the ratio 2:9. The Rockley rock engraving in Falmouth 02 is also related to the Koch star. More triangles — the 3 triangles of the 2nd iteration from that article. The Sound of Music children look on, as they looked on before (in Latona 03 04) when The Mouse was playing guitar, perhaps a song written for him by Shark, even. They are discussing the song, perhaps, in Falmouth 03. Is it about corndogs?

bb:

Not sure Hucka D.

Hucka D.:

Then the Big Cabin with its Big Chimney across the road from this rock — still in Falmouth 02 here — is branded with the Rockley white horse, since lost as it were. We know the location, though. It too is the same as the rock it seems. Perhaps they are companion rocks, even, like the 2 Avebury stones of Falmouth 03, on its left side. And then you’ve already pointed out the shape of the right child in Falmouth 03 mirrors the taller of these 2 Avebury rocks. So the other child, covered now by the smoking President Hayes, is the squatter, fatter rock. See?

bb:

Seems to be so, Hucka D.

Hucka D.:

If the chicken or Baker Bloch with chicken or *chichen* legs is crossing the road in Falmouth 04 to get to England from President R. Booger Hayes’ US of A, then the return trip back to Amereca is signified in the reversal of the rock crossing the road in Falmouth 02. The Rockley rock, travelling backwards now, becomes the Big Cabin, still with a Rockley horse on it to signify the association, but a US of A image still — this is suppose to be Hayes’ cabin on Mouse Island with its large chimney, which is attached to Masonic Mysteries now. You start the cycle over — you head back to the US of A and the grind dominated by the 2:22 clock with Shark present and you The Mouse again. It starts all over. But *now* you know you can escape once more. You see the other side. So you can deal with it better. And Shark understands as well. This is the main lesson of the Falmouth series, finally. And it all aligns with Deneb and Cygnus as Thom pointed out. Collins reinforces and reinvigorates. Bart with his arm — where you wear a watch after all — is telling Baker Bloch that its time to go home, back to his US of A and the daily grind. Now you must deal with the mysterious of the Big Chimney. Can you see?

bb:

Think so. Kind of.

Hucka D.:

The hand projects from the chimney( in Falmouth 03). Also in Falmouth 03 we have 2 picture elements coming from Frank/Herman Parks, specifically Methril on Thrill. More specifically The Diamond rock and then a moss formation that looks like a mouse eating some cheese (lichen). He’s liken it.

bb:

Clever.

Hucka D.:

So obviously the moss mouse is eating the cheese and is the same as The Mouse talking to Shark and attempting to interact with the corndog on the roof behind them. Has The Mouse taken The Bait?

bb:

Unsure Hucka D.

Hucka D.:

The brick wall( around the house) certainly seems to be a trap for Mouse, caught by Shark.

bb:

It’s the 8-5 grind again, Hucka D., dominated by a clock. The Clock. We’re stuck in 2:22 unable to reach 2:23 and freedom.

Hucka D.:

There is a separation of Prez and Mouse here. Shark is attempting to tell Mouse that not that he doesn’t like corndogs but he doesn’t like *county seats*, or at least 2 county seats in the same county. You know what this means.

bb:

I might Hucka D. 2 locations. The Shark doesn’t like two centers for the same department.

Hucka D.:

She/he’s going to have another go at it with New Guy. In Ozmo, New Guy shows up in episode 2 I believe. You can check that now if you wish.

bb( after checking):

He shows up at the end of episode 2, “Signals”.

Hucka D.:

A great episode. They’re all great. A fine product produced by your US of A, along with the Smipsons. And that’s about it. Zapple, Smipsons, Ozmo, Fire at the Theatre’s Side, couple grunge bands, Hooked On Phonics, and that’s about it. Oh… Igor Stravinsky.

bb:

I think he’s Russian, Hucka D. Although he lived for a long time in Los Angeles I believe. Schoenberg, his arch-enemy, resided there as well.

Hucka D.:

The Viennese Triangle, I remember. 12 atonals all. Latona — atonal. Do you think the 12 tones Schoenberg had to treat so equally to avoid key signatures has to do with the 12 hours of a clock and the 12 triangles on Shark’s roof? For this is Shark’s home in Falmouth 03.

bb:

Again: might be.

Hucka D.:

I think it is a black hole — this loss of tonality. You do not have a key signature. You have this blog, your creativity, yet you have a grind it out job. Edna is feeling it too — more than you. You must escape. You must re-center. New Guy.

bb:

Thank you.

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Falmouth Interpretations/Associations 04

(continued from Falmouth Interpretations/Associations 03)

“Don’t you think this is you as a certified professional in the future.”

bb:

Yes Hucka D. Thanks for the lead-in.

Hucka D.:

You’re welcome. One of my tasks. This is future stability. On the other side, in Falmouth 03[ opposite of the Falmouth series “circle”] you have the present situation, or what happened in late November or early December. You have a breakdown of communications on both sides. You have the boss or the prez, Shark, talking to The Mouse. Prez *hates* corndogs. This is what he or she is pissed off about. The Table is not getting done. And yet very ironically *you* have your own kind of parallel table that’s not getting done. You see?

bb:

Yeah. The Table.

Hucka D.:

The Clock is the 8-5 grind you’re trapped in, like most of the rest of us working slobs. This is your job. You are the worker and shark is the boss. You are Mouse.

bb:

Yes.

Hucka D.:

Perhaps you cannot get on your tiny tip toes to retrieve the corndog that has a hand up on this roof, inside the triangles that represent a clock as well. The hand points to one, but the hand also points to the actual clock in the collage, the one frozen on the minute of 2:22. The clock cannot move to 2:23. You are stuck, like Groundhog Day and Phil within.

bb:

Yes. I’m better at listening now.

Hucka D. (continuing):

As you also realize now, this is your situation in your US of A, where you live, where you work. The street is the Big Pond. Crossing the street like a chicken or chichen equates with heading to England now. You must go!

bb:

Yes. Just found out there’s no backing out now. Excitement! No regret.

Hucka D.;

Good. When you get to England and center yourself over there, apart from your US of A, you will understand the future role, the certification. It’s not exactly what you think.

bb:

What I don’t want to happen is me being pushed out of my present position.

Hucka D.:

That won’t happen. Now. You and the New Guy will get along smoothly. He will see the real you… doctor. And you are clearing up your act. Balance. England plays a great part in that. No, you will not be able to leave your US of A for 8 more years. Yet you must prepare for the inevitable — retirement. Now. You will always have your Frank, your Herman Parks. That will not leave you. Then you plug in that to the whole England scene and the crop circles and the activating megaliths.

bb:

Did you say activating?

Hucka D.:

Yes. Everything is warming up. The past will be the present will be the future. (pause)

bb:

Activate, huh.

Hucka D.:

Back to the collage, this is you in the future. You are both the man and woman, like Ozmo’s Man/Woman that Roostre knows about. Okay?

bb:

Alright Hucka D.

Hucka D.:

Andrew Wyeth’s Cristinia is a direct reference to Cygnus and its x-rays through Rush, Missouri. Alright?

bb:

Yeah. So Bytor’s collages are another pointer. I must protect the history of the Golden Age of Synching, Hucka D.

Hucka D.:

Okay. Alright.

bb:

And we’ve already talked about how symbols and images from The Barge have sort of been imposed upon the Red Lion pub of Avebury, kind of like the former has taken over the latter. And the red haired being is behind all this… including the Rockley rock art in Falmouth 02. So we have the Croppie beer logo attached to the front of the Red Lion, the elements from the poster — saucer and white horse, on another Red Lion building, and then the red haired being’s hair covers the actual Red Lion logo on the side or front of the building. This *is* the Red Lion, or the true Red Lion — what it could actually be.

Hucka D.:

A center or watering hole for crop circle studies. (pause) The drunken beer in the front has a prominent black hole that peeks through into another dimension through the white foam. This is Cygnus X-1 again. Then there’s the relationship between Cygnus X-1 and Cygnus X-3: even though they’re far apart in actual space, they appear close together from our Earth angle in the constellation[ of Cygnus]. And now you know that the only carving on any of the Avebury stones is of a swan. Fantastic. Avebury itself is aligned to the brightest star of Cygnus in Deneb.

falmouth01final02

—–

http://en.wikipedia.org/wiki/Avebury#Purpose

Alexander Thom suggested that Avebury was constructed with a definitely indicated site to site alignment with Deneb.[39]

—–

(continued in Falmouth Interpretations/Associations 05)

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Falmouth Interpretations/Associations 03

(continued from Falmouth Interpretations/Associations 02)

bb:

Hucka D., we’re going to inexplicably switch back to Falmouth 01 to continue our interpretations/associations here. We started with Falmouth 04. The Falmouth Interpretations/Associations 02 post was a bust.

Hucka D.:

Yes. Put up your picture and I’ll take over. No need to overexplain things, mr. b.

bb:

Thanks for saving me once more. (smile)

INSERT COLLAGE PICTURE

Hucka D.:

“We…” covers a log of ground [ for Falmouth 01]. (pause to read) Well, the collage picture has changed a little since those older interpretations, baker b. *The* b.

bb (pointing):

You’re the b.

Hucka D.:

We’re both b’s, then. (points to both b’s) Let me see… lost my place.

bb:

We’ve got to make a solid start at this interpretation today. Another solid run, I mean. April and its fool days are quickly approaching (!) But it feels like January.

Hucka D. (singing):

When it’s hot, it’s hot. When it’s not it’s not.

bb:

Fantastic. So… Falmouth 01?

Hucka D.:

(pauses to read more of “We…”) See I was singing in that old post as well.

bb (trying not to get sidetracked again):

Yeah I remember. (pause)

Hucka D.:

Let’s just start with the circle of meditators up on the Red Lion pub’s roof on the right side of Falmouth 01. This is Falmouth 01, and this is the 1st or 01 iteration of the Koch star crop circle we discussed previously, baker b.

bb:

Yes.

Hucka D.:

Falmouth 02 contains the 2nd iteration, Falmouth 03 the 3rd[ of the same], and Falmouth 04 the 4th. The entire Falmouth series in its 4 parts actually is the same as this circle, or equates with it. Through this one circle it relates or equates with all [crop] circles. It is whole and complete unto itself. The trouble is, then, finding openings of interpretation. This is different. And now you have the Falmouth Creek factor to weigh in. Falmouth Creek and its Old Baker Settlement is turning out to be directly linked to your brand new PGT Town.

bb:

That’s PTG Town, but — yeah.

Hucka D.:

A nodal point has been discovered — uncovered. This is like the center of a crop circle. There is also a circle in Old Baker Settlement. It is a metal circle you found on the ridge of broken glass neighboring TILE Cabin on this same creek. You took the metal circle along with the 34-36 bottles and placed them in Old Baker Settlement, then. The park ranger saw you doing this, but he didn’t *see* you doing this.

bb:

Yeah, that was odd. If it was the park ranger I saw before.

Hucka D.:

PTG may be like PIG. You better check…

bb:

Thanks. (checks) Not sure.

Hucka D.:

Thank you for checking anyway. You have pieces of a puzzle for this one. You have symbolism within the Lis series. Lis 01 depicts a woman who is in one strong way Baker Blinker, who wears purple and is standing in front of a gravestone to the right in the collage. In Lis 02 she is joined by a blue clad man, again on the right. In Lis 03 04, the blue clad man is alone, and is standing in front of not a gravestone, like the [companion] woman of Lis 01, but a strange thing at the center of a Brian UK geograph photo — I won’t even bother to remember his last or middle name this time —

bb:

Thank you. (smiles)

Hucka D.:

This strange thing you know is representative of the Cygnus X-1 system, a regular white star and then a proven black hole. Proven by your scientists. The black hole is the eye that is attached to the dough-like being to *it’s* right. This the blue clad man meeting *Falmouth Creek*, see?

bb:

Yes.

Hucka D.:

The black hole in this case is the still as yet unnamed spring entering the creek from left to right in your maps. The doughy being, which you call Meat Shake I believe, is the white star, as stated. This is Falmouth Creek. The situation at Old Baker Settlement just upstream from this spring is a miniature version of the same. It represents a collapsed star that *didn’t* quite have enough mass to create a black hole, like the spring is considerably smaller there than the larger one downstream. And I must ask: which is truly Old Baker Settlement? Anyway, don’t answer that yet. The woman in Lis 01 and 02 is Baker Blinker, the companion man in Lis 02 and 03 is Baker Bloch, who walks side-by-side with Baker Blinker for a while as you attempt to use both avatars during your Second Life experiences and exploring and building and such. But Baker Bloch is destined to take over — Lis 03 04 then. Baker Blinker was dominant at the beginning, a situation depicted in Lis 01. See?

bb:

Yes.

Hucka D.:

So with Lis 03 04 we’ve crossed over Bloch Ridge from the direction of Second Life Pond, which is now *blocked*, just as Baker Blinker of Second Life has been left behind. She really cannot move over the ridge with the male Baker. Baker Bloch must travel on alone after reaching the crest of Bloch Ridge. And so he descends by himself to Falmouth Creek. He sees the representation of the Cygnus X-1 system alone.

bb:

I see.

Hucka D.;

So we continue a revision of the Lis series in this light in Lis 05. The black hole is now the same as The Crammer of Devizes, as we leave St. John’s and its graveyard and its gargoyles behind. What comes out of the black hole — again this is the same as the spring at Falmouth — is *TILE*, the 4 color or creatures of this game/philosophy/religion.

—–

(2 hrs. later):

Hucka D.:

Have you read this yet?

http://www.andrewcollins.com/page/articles/thecygnusmystery_serpent.htm

Adding to Avebury’s suspected connections with the Cygnus constellation is the fact that the only carving to be seen on a standing stone there (Stone #25S in the Kennet Avenue) shows the head and neck of a swan (first identified by local earth mysteries writer John Wakefield). Nobody before had made the link between this stone and the swan. In the knowledge that the water-filled meadows of nearby Silbury Hill, as well as the Kennet river which runs alongside Avebury, once played host each winter to flocks of migrating whooper swans inbound from their breeding grounds in the Arctic, this had to relate in some way to Avebury’s axial alignment towards the setting of Deneb.

In the knowledge that Avebury has frequently been linked with the ancient British goddess called variously Bride, Brigid, Bridget, Breeshey and Brigantia, whose main totemic symbols are the swan and serpent, might she help us better define the precise nature of the site’s link to Cygnus?

http://www.zophiel.org/quests.html

Avebury1

—–

(continued in Falmouth Interpretations/Associations 04)

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