Category Archives: collages 2d

March 13, 2013 · 1:26 pm

Lis Interpretations/Associations 03

(continued from Lis Interpretations/Associations 02)

“I think it is a basic mistrust of all-things-town, Hucka D. The 4 characters of TILE arise from The Crammer, or between the two parts of The Crammer which are actually one part, because of the pull of The Country. The 4 gargoyles, kind of parallel monsters here, are The Town, and reach a dead end at the east portal of that old railway tunnel running underneath Devizes Castle, or what passes for a castle now.

Hucka D.:

Perhaps the gargoyles were attempting to restore the old castle, and add to its decor. Stone [attracts] stone, after all.

bb:

Never heard of that. But at any rate we can move to Lis 06, called “Hugs All ‘Round”, I believe. (checking) No, it’s “Rock’n Home”. We have the reappearance of Spongebob Squarepants in Gilatona-Lis, and this time with his best pal Patrick Star. Sbsp appears first in Latona 01, peering out of the opened front door of his pineapple home, speaking of homes. And I suppose here in the newer collage we have a nod to Patrick’s rock home now, which appears in front of him… But the rock is actually from The Barge in Honeystreet, very near Alton Priors which we will be speaking of in a moment. It’s from a picture of this rock I found online, which strangely and queerly depicts the same crop circle I’ve already used several times in Gilatona-Lis collages, originally in Gila 05 but also in Latona 05. This despite it not being a very famous crop circle, Hucka D.

Hucka D.:

*We* put the rock there. [The] Lis [collages] are very tight. You would see the rock, or the picture of the rock from The Barge, and immediately know you had to use it in a new collage. This then becomes Patrick Star’s rock house or home as well, since you made that association beforehand.

bb:

Here’s the post you’re talking about.. oh, it’s already there (!):

https://bakerbloch.wordpress.com/2013/03/03/more-wiltshire-shots/

And then here’s the Marshall photo I use as the base for Lis 07.

http://www.geograph.org.uk/photo/1744705

This is taken several miles east of Devizes, not too far into the country, then. The distinct hill in the distance is Woodborough Hill, which was the site of not one but several of those sunfish related crop circles from 2012. Including the one depicted in part at the bottom of Latona 00, returning to that collage once more.

Hucka D.:

Cool. There’s Lisa the Vegetarian in the new one [Lis 06] as well. She appears to be hugging one of the gargoyles from the statue. As Marshall himself pointed out, this is Bart Simpson, 12th Century style. But the spirit of the gargoyle or monster is trapped in that gravestone transported from The Crammer location, or the location of [Lis 05]. You must hug and love the gargoyles within yourself, baker b., in order to be free of them. You move out into The Country to do this. The Town cannot give you what you need. You search elsewhere — country.

bb:

Like we’ve moved the progression of the Lis series from Devizes — town — out into the countryside, specifically the area around Alton Priors and The Barge itself and the famed Alton Barnes white horse, and so on. Most sacred spot. Here we also have at least one of the 4 TILE monsters or creatures from Lis 05 returning just below Patrick’s crop circle adorned rock. This would be the little yellow fellow again, called McCoy in The Jelly Fox episode of Noel Fielding’s Luxery Comedy show.

Hucka D.:

He’s the one with diabetes (smiles).

bb:

Yeah, but it’s no laughing matter. Perhaps not even a smiling matter. (Hucka D.’s smile is erased.)

Hucka D.:

But…

bb:

But he represents The Sun, the counterpart to The Moon. He’s within The Moon, just as in Latona 02 you have The Sun being swallowed, seemingly, by The Moon. And Fielding himself is swallowed into The Moon when he plays that particular character in The Mighty Boosh. There’s a scene in the first episode of his Luxery Comedy where he reappears in this rather famous role, only to state he’s not in this show. Quite funny.

Hucka D.:

Can I smile again, then?

bb:

Sure. (Hucka D.’s smile returns.)

—–

“In looking again at Latona 00, I feel that all three “stones” we’re talking about here, the one Lisa is sitting on in Latona 00 and then the two (grave stone and rock with crop circle) are one and the same. And all 3 stones are in fact The Diamond from Lis 00. It represents knowledge… Arkansas knowledge. I revisited The Diamond at Metril yesterday, Hucka D.”

Hucka D.:

Great. Singing frogs. Fantastic. They were chatting about how f—ing cold they were, and why did they have to be hatched so early? You’d be doing the same… in fact you were… in your head.

bb:

Returning to Lis 06, obviously the two rocks or stones are associated. According to the turns of The Moon in the foreground, representing its 4 phases seemingly, we have the downward turned moon associated with yellow and the rock from The Barge, and then the upward turned or “horned” moon associated with the grave stone carried over from Lis 05, the one with the Bart spirit within.

Hucka D.:

Bart The Gargoyle. Hugged by Lisa the Vegetarian. Did you know in the early days of The Simpsons, Lisa was seen more as a female Bart. Only later in the series did she acquire her own unique character. Lisa the Vegetarian [season 6 episode] is an important landmark in this progression to individuality. She exists separate from Bart, able to stand apart from him. But love him and his gargoylian ways still. The Simpson males have a degenerative gene that carries over from generation to generation. The female Simpsons are not so cursed.

bb:

Yeah, I read something about that[ not surprisingly]. So Lisa here is loving or hugging somewhere that she had come from, but now stands apart from. A brother to her instead of she herself. As the gravestone is from The Crammer, and is where The Moon originates from in Lis 05…

Hucka D.:

The rotating Moon, actually one Moon, has absorbed the colored energy of the 4 Crammer monsters and trapped it within a 4-part mandala that are called its phases. These are yellow — full moon — blue — new moon — green and red and the half moons, then. The progress of The Moon across the landscape of Lis 06, which would be atop Alton Priors, even, hidden just below the line of trees beneath Woodborough Hill…

bb:

Yes.

Hucka D.:

… Well, I lost my train of thought. Train?

bb:

Thank you for that interpretation. Anything else about Lis 06? We are out in the country, specifically Alton Priors and Alton Barnes and Honeystreet, which are all connected anyway, and away from Devizes. But still close to the latter. We are approaching *home*. We are approaching The End.

Hucka D.:

The grave stone has an eye. It is peering toward The Rock that is the same as itself. The rock does not progress beyond itself. Lisa the Vegetarian has. She has learned to love. She is heart.

(continue to Lis Interpretations/Associations 04)

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March 12, 2013 · 12:29 pm

Lis Interpretations/Associations 01

(continued from Latona Interpretations/Associations 05)

We start with Lis 00, which is and isn’t the start of the Lis series, much like the situation with Gila 00 and Latona 00 before it for their respective series.

Hucka D.:

Respective? Good evening to you baker b. Nice to be starting a third series so soon.

bb:

Great to be working with you again as well, Hucka D. We may try a double shot today[ of interpretations].

Hucka D.:

I know you don’t like Lis 00 as much as the remaining collages of the series…

bb:

I suppose that’s true.

Hucka D.:

… but it interests me. It *captured* your attention, those 6 Confederacy of Diamond participants sitting in a row in Castle Combe like that. It inspired you to create a new collage even though you thought you were done with them for the winter/spring of 2013. Not so. Lis is the most consistent of the 3, actually, and probably the most meaningful. Deep. But we start with Lis 00. The Diamond rock is front and center, a kind of 7th member of this confederacy and the head of it obviously, since it is the Confederacy of Diamonds. But what is this confederacy. Is it merely a play on Confederacy of Dunces?

bb:

Well, in looking at the collage I believe the people sitting there may represent the collages of the Lis series itself, which will quickly line up in a row after Lis 00 — one interpretation.

Hucka D.:

And a good one. They are waiting for you to manifest them, one by one. And The Diamond will make an appearance as well. This is the spirit of Lisa the Vegetarian showing her strength once more. Everything centered in Arkansas for the US of A boy. TILE. And the walking man to the right is experiencing the energy of TILE as well. The 7 of Diamonds over the entrance he has strutted through is the 7 diamonds of the Confederacy. He is the seventh as The Diamond is the 7th. Arkansas.

bb:

Let’s move to Lis 01, although we may return to Lis 00. Lis 01 is all about Devizes, Hucka D., which I’ll be staying at for my first week in England this coming summer.

Hucka D.:

3 months[ to go]!

bb:

Yes. Getting very excited, especially given what happened in the Lis series. The centerpiece of the collage is St. John’s Church in Devizes, which exists very near where I’ll be staying. Devizes central area is very compact overall; you can be out in the country in a matter of minutes walking north, for example.

Hucka D.:

Oh you’ll be walking north. North east south west. And you’ll go to the old tunnel entrance, if you can get down there.

bb:

We’ll get to that in a minute[ in reviewing collages 03 and 04 of the Lis seris]. So in Lis 01 you actually have a number of Brian Marshall Roberts… dang, you got *me* saying it now Hucka D.! — Brian *Robert* Marshall’s photos combined together. There are 3 focusing on the church itself… I’ll just list them out and give links…

http://www.geograph.org.uk/photo/2387363

http://www.geograph.org.uk/photo/2387298

http://www.geograph.org.uk/photo/2386590

… then 2 of the what’s called the Millenium monument behind the church, which are combined to make a type of 4d image of the thing I suppose…

http://www.geograph.org.uk/photo/2387342

http://www.geograph.org.uk/photo/2387345

… and then one additional Devizes shot Marshall took of a pyramidal sculpture from the downtown area…

http://www.geograph.org.uk/photo/950005

A lot of photos used here, in other words.

Hucka D.:

It is the spirit of Devizes and St. John’s Church combined into one collage. 4d, as you stated, for both church and sculptures. You’ll do this again for Alton Priors in Lis 07. Same technique.

bb:

Yes. Thanks for that.

Hucka D.:

What are the bricks removed in the wall to the left telling you?

bb:

They reveal part of an oval, maybe a mirror.

Hucka D.:

A mirror. Something has been pushed off to the left. There’s only one figure in the collage, and that’s a woman admiring a grave stone to the right. But the stone has been moved from behind the wall to in front. What does the stone say, baker b.?

bb:

I think it is about The End.

Hucka D.:

Yes. This collage is so complex because we had to root you in Devizes firmly to begin Lis. You are *there*. You will be there. You are already there. There!

bb:

A tiny gift shop exists in the corner of the church next to the pyramid, perhaps frequented by toy avatars.

Hucka D.:

Reminders of Civil War battles to the left. Grape shots in the wall. Grape shots are also in crop circles.

bb:

But…

Hucka D.:

The end is covered up, first by putting a brick in the wall to obscure, and then by simply moving the whole picture to the right and pushing it off to the left. But you must remember the origins of the collage. Why did you have to cover up The End?

bb:

I didn’t want to see it.

Hucka D.:

Out of sight and out of mind. But The End serves a higher purpose, for it is the end of life itself. The grave stone to the right, still in the picture and added later, tells you this.

bb:

I really like this collage, Hucka D. It’s soothing to look at. Lots of cool stone.

Hucka D.:

3 bricks removed here… 2 to reveal what you call the edges of a mirror behind the church’s wall, and then a third to make a window for the tiny gift shop beside the pyramidal sculpture. A duplicate St. John’s exists in the background so that you can see its front better. The clock says 11:37. Revelation.

bb:

Let’s move to Lis 02, since it is of the same Devizes church but from the back now.

http://www.geograph.org.uk/photo/2387438

Again we’re combining different Devizes locations into one collage, and this time its St. John’s with a coffee shop in the downtown area called Costa [culled from a Google Streetview image]. We don’t have those over here.

Hucka D.:

That’s your Starbucks as I remember. I don’t drink coffee myself.

bb:

Interesting. Yeah, I assume I’ll be going to that coffee shop quite a bit… again not far at all from where I’ll be staying there. But it’s not *right* behind St. John’s, you see.

Hucka D.:

I see. These are places of worship combined in a place of worships. You worship coffee. Others worship other gods, including The God, the Big Man upstairs. Some even worship the other Big Man downstairs. But you mainly worship coffee, or that’s a primary worship. You should think of TILE more. But you have the woman carried over from Lis 01, and to the right again. She’s gained a partner, a male… they’re a couple. They walk side-by-side. They walk to, well they’re the same person actually, and then man then walks behind the church to the tunnel entrance where he’ll meet Meat Shake. Or meat Meet Shake. The gargoyles from St. John’s break off the church and follow him, but are thwarted in their attempt to spoil the meeting by Gary, who has come with The Diamond from Amereca all the way to Devizes just to protect his own partner.

bb:

We’re moving into the themes of Lis 03 and Lis 04, which are a diptych, so I suppose we better throw out a collage picture here…

The collage “Gargoyles Cometh” is on the left here, and is Lis 03. These are the 4 gargoyles you mention, which you stated have followed the man/woman to the tunnel entrance and are trying to spoil a meeting with Meat Shake… get to that in a moment. Let’s put up the 4 additional Brian Robert Marshall photos the gargoyles come from…

The last gargoyle (4 of 4 in Marshall’s ordering) is the only one that appears full scale in the collage, Hucka D. The images of both the 3 of 4 and 2 of 4 gargoyles are reduced to 50% — they are to the right and left. Then the one in the back is reduced to 25% of the original. That’s a drain pipe coming out of its mouth, but in the collage it makes the thing look more like a monster than it actually is.

Hucka D.:

Oh they’re monsters. Coming to get you!

bb:

Coming to get the man/woman who seeks Meat Shake, you mean.

Hucka D.:

Yes. But thanks to Gary, their efforts were twarted. Gary swings from a tree branch from the right and starts knocking them off one by one till all are dispelled. They slink, defeated, back to their church perches. Church perch. They are the 4 abberant energies of TILE. The 4th, the largest, attempts to sit on and obscure The Diamond of Frank Park you worked so hard to find this spring. He sits and laughs, waiting for the others to catch up. But then — Gary. Swings from the left. Picks them off. Gargoyles thwarted. Attack feigned off.

(continued in Lis Interpretations/Associations 02)

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March 12, 2013 · 7:03 am

Distribution of Gilatona-Lis collages

Hard to interpret, I know, but the basic gist I’m getting out of this is that the Gila series (magenta pins) is mainly set in Marlborough and points northwest to Hackpen Hill, Lis (cyan pins) mainly involves Devizes locations at first, and then moves to the Alton Barnes region a couple of miles west to finish up, and then the middle series of Latona (yellow pins) mainly involves locations between these two (like West Woods, setting for Latona 08 09 10). The only place where all 3 series overlap is Avebury, which is roughly in the center of the map. Gila 01, Latona 03/04 and Lis 08 all involve primarily Avebury locations, and a number of other collages from each series have Avebury elements added in.

In addition, a couple of other collages are still set in Wiltshire County, but considerably outside this general circle (Gila 02 in Salisbury to the south; Lis 00 in Castle Combe to the west). We can also add the 3 full collages of the Baker Bloch in England exhibit from 2010 into this group, which are set in Purton Stoke to the north.

Gila series locations (magenta)

add in Lis series locations (cyan)

add in Latona series locations (yellow)

Then kind of behind all this in the background, as it were, are the remaining supplemental collages created for the Baker Bloch in England (green pins)…

*Now* compare all this to the crop circle map from 2012 I bring up in this mid-January post, just before starting Gilatona-Lis…

https://bakerbloch.wordpress.com/2013/01/16/plans/

Marlborough to the east again, and Devizes to the west.

Summary: The distribution of locations used in Gilatona-Lis collages roughly follows that of crop circles from not only 2012 but previous years back to 1990 at least. The area is roughly covered in an east to west sweep, with Avebury at the center. Crop circles also tend to congregate around Avebury. This is an the energy I’m obviously dependent upon.

Crop circles themselves are seen in many Gilatona-Lis collages (Gila 01 02 03 04 05, Latona 00 01 05, Lis 06 07 08 09), and symbolically implied in others (sunfish imagery for example).

—–

We also have some collages whose imagery is primarily from Second Life (Gila 05, Latona 01). I’ll get to a more detailed breakdown of Gilatona-Lis images in a future post.

Note: Gilatona-Lis is now on flickr.

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March 7, 2013 · 9:37 pm

Latona Interpretations/Associations 04

(continued from Latona Interpretations/Associations 03)

bb:

Hucka D., I believe this is the most difficult turn of the Gilatona-Lis series, this transition from Wiltshire back to America and then back to Wiltshire. I think Latona 03 and Latona 04 — the diptych — coming just before this represents confusion and opposition. This is the Wheeler-Wilson paradox, where things can work equally well both forwards and backwards. One has to go back to America…

Hucka D. (correcting):

Amereca.

bb:

… Amereca, yes, to get energy, to be grounded once more. And we start in Manitoba here. This is a door for others to explore, if not necessarily here in this analysis. The backdrop is still Wiltshire — Hackpen Hill’s white horse viewed in the distance, like it is in several other Gilatona-Lis collages.

Hucka D.:

Has it? You should check.

bb:

Well, obviously it is at least implied in Gila 03, which I’ve been revising a bit lately given the end of Gilatona-Lis and the enlarged implications.

—–

bb:

Strange, Hucka D. I just checked and this is the only collage that contains any Wiltshire white horses in their natural setting. Gila 10 also contains a white horse, but separate from the landscape and stuck up in the air, like a cloud. And here we have 2 white horses, the Rockley one defunct as stated, and the quite nearby Hackpen Hill horse still maintained. It is also the central white horse of the very odd white horse alignments I found during the composition of the Baker Bloch in England material — at the cross between 4 white horses, including the oldest in Uffington.

Hucka D.:

We better move to the third hand in the collage, which is from the Dune movie by David Lunch.

bb:

Lunch, yeah.

Hucka D.:

King Karb minituarizes and seems to go inside. In the Baker Bloch in England series, which *does* contain a picture of Hackpen Hill’s white horse, he is seen heading toward the horse as well, eventually to show up in Rockley *behind* the horse, and where the other white horse from the present collage use to exist. The box held by the third hand is the Pain Box of the Bene Gesserit. The top of the Bene Gesserit’s head is found in the distance, beyond Hackpen Hill or behind it. This is much like Marge’s head — or it becomes like another beech copse on this ridge[ like Marge, Selma and Patty before it]. So the witch is both in front and behind the hill at once. Like I said, the King, which is the same as King Tull of earlier in the collage sweep, seems to head within the box. He is, in this way, the hand that incurs the pain. What is the relationship between the Karb or the King in this collage and the one from the Baker Bloch in England series? Let’s put up a picture to help the contrast.

bb:

On it…

… well, we have a (flying) saucer in the earlier, simpler collage, and then we have a saucer *implied* in the new Hackpen Hill collage through Saucer Alabama and the Forest Home circle.

Hucka D.:

Saucer Alabama being on the edge of this circle, along with Fake Herbert. So there’s the Herbert (Frank Herbert) influence coming in as well. Fake Herbert and Saucer define the circumference of the Forest Home, Alabama circle, with Forest Home at its center. And this is the same or symbolized by the circle with the dot in the center, also in the center of Latona 05. The crop circle it is joined to now is also from Rockley, and will even show up once more in the Gilatona-Lis series (Lis 06) in an unexpected way. Rockley has a large gravity, it seems.

bb:

I had an epiphany about those two hands last night, Hucka D. Trying to think…

Hucka D.:

This is the 2 Hermans of Winesap[ Sminesap]. These are the 2 columns in front of the Temple of Solomon.

bb:

I think that’s it. In Lis 09, the final collage of Gilatona-Lis and just completed, we have two pillars guarding the brass plaque in the Alton Priors church. It all aims toward that plaque as it turned out.

Hucka D.:

Yes. That is TILE.

bb:

But back to Latona 05… (pause)

Hucka D.:

It could be that Latona 05 is simply too difficult or obscure to fully analyze at this point, baker b. We have the green triangle from the Gila series — Gila 06 (“Monsters”), we have the 3 circles carried over from Latona 04, the previous collage. We have hands.

bb:

What of the overlap of Pine Apple, Alabama streets and Winesap streets in the lower left corner?

Hucka D.:

We simply can’t know.

bb:

Well, I suppose we should move to Latona 06. Maybe we’ll have more success there, Hucka D. Latona 06 is maybe the smallest physical collage of the 32 in the Gilatona-Lis series, or at least that’s how it played out in the Power Tower Gowlery. This is also the only one with no Wiltshire elements, or in any way “set” in Wiltshire. Instead we are back in the US of A, our Amereca.

Hucka D.:

*Your* Amereca. You made the choice to cross the ocean, foolish you (smiles).

bb:

I guess I had to grow with Amereca as Amereca grew beyond Uerope and Britain.

Hucka D.:

Kind of. You had to follow others as well, to be fair to you and also Edna. You had to go with the karma. Where has it taken you? Arkansas? I would say Arkansas, but I say Arkansas for a lot of things.

bb:

Back to Latona 06, we have President Rutherford B. Hayes, who has mysteriously changed into Non-President R. “Booger” Hayes, but more on that in a moment. The setting at the bottom is Hayes Center, Nebraska, county seat for the only county of the US named for President Hayes in this reality. Then we have Mouse Island, Ohio at the top, which President Hayes owned in its entirety and used it as a summer getaway. His grandson use to drive darts into it.

Hucka D.:

Yes.

bb:

D is for Dart, I suppose.

Hucka D.:

Right.

bb:

Let’s put up a picture of Latona 06 before going further…

… so Hayes here is holding a corndog, a smoking corndog. His Mouse Island is also, probably not coincidentally, shaped like a corndog. We have theorized terraforming for the island, like I can accomplish in Second Life even on my rental land now.

Hucka D.:

Same.

bb:

And I think you want to remind me this is where the fictional text grew strong in the blog — surrounding this collage and the elements therein. Hayes surfaced in the blog and became rather 3d, interacting with both of us. We were on Mouse Island with him.

Hucka D.:

He was trying to explain to us why he was the first US president who was not president. He was attempting to talk to us about the Big Cabin folder that has been mysteriously removed from his archive in [fill in blank]. It was suppose to be about the construction of a chimney for his Mouse Island cottage, the very same chimney seen in ruins in the collage[ Latona 06]. But in reality it was much more. Project Big Chimney is about [Clyde].

bb:

Clyde, Ohio.

Hucka D.:

And the 2 people who came from there, both fathers and both Wilson and Wheeler in one. This is Wheeler-Wilson. Or Wilson-Wheeler. The dates are 1860 through 1900 approximately. 2 score. This is what Hayes was interested in. Singing Hermans were within[ the folder].

bb:

If I could find that folder…

—–

bb:

Hayes unleashed the power of the Triumvirate, which is the pineal gland or the 3rd eye. He did this to unleashed Amereca himself. The Pope Project is chaining. Like The Devil card of The Tarot.

Hucka D.:

Yes.

bb:

And opposed or in contrast to this, we have The Lovers, card 6 of the Tarot.

Hucka D.:

That is what Booger wanted. For Amereca to love himself. To be able to look himself in the mirror and say “I’m okay. I’m better than okay. I’m perfect as I am. Now let’s change perfection into higher perfection.”. Because you can’t change the instant of the present, as you recognize it. But in the recognition or after the instant, change can start to happen. So Booger created an alternate Amereca, which is actually the Amereca we’re talking about. He centered it around Arkansas, but he played on the Arkansas-Missouri tension. He did this because he loved America. Can you go back in time and find out when Hayes first contacted Norris?

bb:

I would assume it would be about 1880. Probably just after he bought Mouse Island. Probably around the same time he went to Yreka. He began to see things both forwards and backwards at once. He talked to Norris about this.

Hucka D.:

But slyly at first. He told Norris about the coming of Anderson. And when did Anderson arrive?

bb:

Let me check. (pause to check) Looks like 1884, or when he was about 8 years old.

Hucka D.:

Anderson was a concoction. He never really existed. Or he existed in two places at once.

bb:

It was all about the book — Winesap.

Hucka D.:

Yes. The book made the man in this case. Not the other way around. It was unique. But it will be followed by more unique books later on. This is just a start. But it’s a big start — Big Chimney start.

bb:

Paul was the father of Leto, who went beyond him. Leto took a path the father didn’t choose. It made him half human and half worm, obviously a difficult difficult choice to make.

Hucka D.:

You only need to worry about Winesap in this life, yes. But when you meet the one who will go beyond you, you will know. You will be the father and he the son.

bb:

I am the son.

Hucka D.:

Yes, the son and also the father.

bb:

Back to Hayes… so he knew of this book and how the book made the man and not the other way around.

Hucka D.:

He was given the book, yes. Around 1880. At Mouse Island. He was told to say the project involved building a big and complicated chimney to his getaway there. Later his grandson drove darts into the island.

bb:

If this is coded into Ozmo, then Ozmo is obviously Mouse Island but also the corndog leading to Rooster.

Hucka D.:

Yes Hayes began to know about Rooster and R110.

bb:

Let’s get back to Latona 06, Hucka D. So Hayes is there on Mouse Island, in front of his Big Chimney which was actually a secret project concerning Clyde, Ohio in his home county, and near Mouse Island as well.

Hucka D.:

You can get to it pretty easily from either Fremond or Clyde, yeah.

bb:

And this has something to do with my “High Octave Story” from the ’80s.

Hucka D.:

Obviously.

bb:

Maybe I should just cut and paste that whole story into this blog.

Hucka D.:

An option.

bb:

We better start to wrap this up. So Hayes is there in front of his chimney which is also the secret project. And he’s holding a corndog, which is about Rooster and Hays County, Texas. And we know this because Hayes County, Nebraska is represented at the bottom of the collage in Hayes Center, its county seat. And, let’s see, the middle of the collage is also about Rooster — Rooster Teeth based in Hays County, Texas, most famous for the production of the Red and Blue series. So we have the logo for the show in the collage directly, or part of it. This resonates with the red spacesuit of Dr. Who in the previous 3 collages. But instead the spacesuit is blue, but blue and red are the same through the logo, or right and left of the same thing. Big Chimney obscures red… (pause) Hucka D.? And then we have a picture of Mouse Island from the air just below the blue spaceman. Then an actual picture of the “rooster teeth” projecting from the corndog. Rooster has something to say here. I think Hucka D. has flown the coupe. So in the center of this collage is also TILE, or the circle of TILE and its 4 colors, as displayed in the special version of that game/philosophy/religion. The yellow corndog, which should be slathered with mustard for increased tastiness, comes first, followed by the blue helmeted entity, then gree Mouse Island (Ozmo the Mouse is also green) and then finally the red spaceman mainly covered up by the second “big chimney” of the collage. So this is the first clear indication of TILE in Gilatona-Lis, don’t you think Hucka D.? (pause) Still gone. Rooster seems to want to talk about TILE.

(continued in Latona Interpretations/Associations 05)

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March 7, 2013 · 3:02 pm

Latona Interpretations/Associations 03

(continued from Latona Interpretations/Associations 02)

So to the left — that would be Latona 03 I suppose…

Hucka D.:

Either way. Wilson and Wheeler again.

bb (continuing):

… we have Dr. Who or the equivalent showing off his pet *lion* to the 2 walking their “mere” dogs. Like, “oh those look ferocious but look what *I* have to walk every day.” Imagine cleaning up after it, Hucka D.

Hucka D.:

Then Baker Bloch sits in the corner, unchained as it were but oblivious to the world happening behind his back. He is chained in a different way. Opposed to this we have Frank Zapple not merely staring at the camera but glaring at it, projected from a 4th dimension again (like The Diamond of Methril, Hucka D. seems to be saying here). This is from his Lumpy Gravy period. You have or had been dealing with Zapple in maps… UmapS… and seeing the line or chain of Dr. Who as saving one from the grave; pulling one up from Idaho to Montana and safety. Billfork land, but also Frank’s Moving Mtn. Ooops, can I say that? I just did. So this is about Zapple and his music and his agreement within Billfork a bit. Zapple has already appeared in Gila 08, with Ingor Ratts there. Don’t you think Ingor relates to Ironmonger? Same letters used basically.

bb:

Proba-bly Hucka D. The Bee.

Hucka D.:

I know… I’m chatty this morning. Very excited that you’ve finished the whole f—ing series so soon. Gilatona-Lis. You must analyze differences between it and the Art 10×10 preceeding it. Obviously you have no animations in this one — oh except for the one (Gila 06 and Gila 10) and instead diptychs and even a triptych. In fact, this (Latona 03 04) is the first diptych/triptych of Gilatona-Lis, and the only one that doesn’t use Brian Marshall Roberts’ photos.

bb: (correcting)

That’s Brian Marshall… I mean Brian Robert Marshall.

Hucka D.:

Instead we have more GoogleEarth Streetview based photos on both the right and the left. This is from Avebury of course, as stated. So back to Latona 03. We have Dr. Who with his pet dragon, who is on a chain like the dogs around him but ironically already inside a closure — a courtyard — so no chain really needed. We have Baker Bloch turning his back on the events of the day in his corner… oblivious. We have Zapple staring and glaring directly at the camera, projecting toward it. This is “saved from grave”. This is why he decided to participate in the Sunklands Initiative and the Billfork Agreement. Dragon contained. Red Dragon.

bb:

The chain is also the 112 latitude line. Sorry to interrupt your flow.

Hucka D. (continuing):

The chain is also the 112 *longitude* line. Saved from grave. Lumpy Gravy. Pulled up. In Latona 02 just interpreted, we had Dr. Who being lifted up by this same line, out and away from the dewpond that also represents death or grave. He exits in the internal workings of Master Shake, invisible in part. Red Lion may be death, then.

bb:

Maybe we better move to Latona 04. Oh, and we have the little red figure walking through the 2 Avebury stones in the road to the far left, beyond Dr. Who and his dragon.

Hucka D.:

Free again; able to walk through the rocks unharmed. Passage complete. Bold walk as well. Strutting.

bb:

Diminutive compared to Dr. Who and especially Baker Bloch to the right.

Hucka D.;

So you requested we move to Latona 04. We have Dr. Who again, but he has been absorbed into a black hole. Actually he has fallen into a pit on his own volition. This is the Satan Pit. The black hole is formed between the very same 2 Avebury rocks we have been discussing. The red figure in the two collages between the two rocks is the same, trapped in time. Dr. Who falling into a black hole pit is the dot in the middle of a circle, associating him with Forest Home and the 2 Cardinal Roads the Forest Home circle of Alabama highlights. You have the beginning of one Cardinal Road highlighted in this circle, and then the end of a completely different Cardinal Road highlighted in another place on this circle. Beginning and end again, alpha and omega. Uroborous in effect. We do not know where time starts or stops. (pause to catch breath)

bb:

Thanks, Hucka D. Rapid fire. And Baker Bloch or the equivalent *is* chained in this one, near the other Baker Bloch also next to the central Red Lion pub of Latona 03 04.

Hucka D.:

Doesn’t matter if he is chained or unchained. He would be the same either way. Kind of like you are chained by an 8 to 5 job now but it wouldn’t matter if you were retired already and free. Not now anyway. Best you have work.

bb:

Thanks. Now the red haired woman’s hair just touches the circle surrounding Dr. Who falling into a black hole slash pit. She is obviously Cardinal, then.

Hucka D.:

Yes. Like [the 4] directions.

bb:

And this is who we’ve already called Amy Pond.

Hucka D.:

In a manner. She reappears with the crowd, disguised as a Red Lion or perhaps at least attempting to blend in with the Red Lion pub crowd. But she sees the black hole forming above the doorway, growing larger. The hand first draws the circle crudely, then it advances toward the door, becoming more circular, and then find fruition or centering between the 2 Avebury stones, forming that black hole that the red Dr. Who falls into, then. Is falling into this black hole a good thing or a bad thing? It’s both, actually. This is all about paradox and contrast.

bb:

Then a final piece is Ozmo playing a song to the children of Sound of Music. They like the sound of his music. This is an element directly borrowed from the Wheeler-Jasper series of the Art 10×10, and maybe the only thing borrowed in Gilatona-Lis from that whole 100 collage effort. It appears on Jasper 04. Here’s the appropriate link from the Britain Britain Britain site.

Hucka D.:

It’s 2051. Ozmo is free to play at the Red Lion pub in Avebury, unchained from copyright constrictions. The synchronicities are free. Have you protected them? Have you prepared a proper time capsule? Let’s hope so. Else they are *true* carcasses. Dead.

bb:

For the carrcasses to live, then Ozmo must live through time and space as well. Can’t have one without the other.

Hucka D.:

No, true. This is why Hayes shows up soon. Non-president R. “Booger” Hayes.

bb:

So let me draw back again for Latona 03 04. I really like this collage. The weakness is the middle line between the two halves is not quite symmetrical, which I couldn’t accomplish just using Streetview. I had to return to Brian R. Marshall’s photos to do this, but in a peculiar way.

Hucka D.:

The hand drawing the crude circle (to the right) is like the animator’s hand that drew the circle that is the basis of Ozmo to the left. You can have too crude a circle and too perfect a circle. The middle ground is just right, and that’s the circle on the Red Lion pub, above the door. Red haired lion stares directly at it, knowing this or realizing this. She hears the teacher, then. The people at the Red Lion pub are at a lecture but they don’t know it. Instead they stare toward to camera perched atop a car whizzing by. It is GoogleEarth. They are posing for *this* collage.

bb:

Dr. Who is staring directly at the camera as well, even as he is being absorbed into the black hole pit.

Hucka D.:

He is being absorbed *into* the camera. Like Red 7.

bb:

Oh and the fox in the courtyard… from Jasper 04 as well. It seems to reinforce the red hair of the lion/woman. The red fox is off its leash, unlike the red dragon of the twinned panel.

Hucka D.:

When you let go of the leash, you fall into a black hole. We better leave it at that and move to Latona 05…

… here we have the Hackpen Hill white horse in the background, and yet another white horse in the foreground. We have the return of the circle centered by a dot like thing, like in Latona 04. This would be more in the foreground. But accompanying it this time are two more circles, arranged as a triangle. But in Latona 04 we also really have 3 circles, although in a line there. So it’s kind of the same thing. The circles have also become crop circles, and a specific one from Rockley already seen in the Gila series (Gila 06: “Monsters”). There it was chained as well, or harboured within a shelter, but with a door open. The munching monsters that are circles with “mouths” are about to be let loose there. What are they doing here? Oh, and the second white horse positioned just to the right of them here is also from Rockley — it is the lost Rockly white horse, only seen on black and white photos now. Or [only] one black and white photo, perhaps.

bb:

Cool. Let me look at this collage again… (pause) Obviously another thing that sticks out are the two hands, one white and one black. The white hand seems to be almost pinned down, as it were, by the 3 circles that are also the same as the Rockley crop circle, with the central (green) triangle. Again, this is a lot about the Forest Home, Alabama circle and the 2 Cardinal Roads. The roads below the circle come from Pine Apple, Alabama, which is where the main road from Saucer, Alabama (on the edge of the Forest Home circle) leads to… it’s called the Pine Apple Highway because of that. A map of Winesburg, Ohio is situated to its left… obviously there should be an association made, then, between the real Pine Apple, Alabama and the fictional Winesburg… the roads merge. This is a pretty complicated collage, Hucka D. (!)

Hucka D.:

Yes. And one that needs to be interpreted. You haven’t explained that the main black and white photo dominating the bottom part of the collage comes from Manitoba, and is one of the…

bb:

Let me help. According to this blog post, it is the aerial view of the 1st Igniting The Fire Gathering at Manito Ahbee in the Whiteshell provincial pARK. Important that a Native American named Don Cardinal presided over the lighting.

Hucka D.:

Let *me* help. You never got back to that Port Gibson-Cardinal explanation you promised [at the bottom of that post].

bb:

Well, I never got around to explaining the Bill Mountain aliens either, Hucka D.

Hucka D.:

That’s because you don’t know what they are.

bb:

I think a Forest Home is involved. That’s what I got out of the Forest Home circle in Alabama with Forest Home in the center and Saucer and Fake Herbert defining the circumference, which also indicates the two Cardinal Roads and their beginnings and endings respectively.

Hucka D.:

Respectively?

bb:

Maybe…

Hucka D.:

Maybe you should study up on the rock formations of (long pause)

—–

bb:

Of what? You mean the ones in Manito…?

Hucka D.:

…ba, yeah. The things that…

bb:

… ties it all together.

Hucka D.;

Of course.

TOGETHER:

Tie Creek.

—–

(continued in Latona Interpretations/Associations 04)

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Tagged as Frank's Monster^*+!$

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Cereal Characters

http://www.geograph.org.uk/photo/885302

http://www.geograph.org.uk/photo/885306

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March 5, 2013 · 7:19 am

March 4, 2013 · 7:36 pm

Alton Priors Alchemy 00

Base for a new collage. Sorry my bud Brian R. Marshall. I apparently won’t be using your material this time, and decided to focus on the Alton Priors church instead of the one in Calstone Wellington. But you’re there in spirit (!) This will be the beginning of Lis 07, most likely. Lis 07 08 and 09 may also focus on this church near the Alton Barnes white horse.

The woman’s head in the picture *wasn’t* there, but *could* have been there. It is a strong probable reality photo, then. How the *body* of the person in the picture within the picture got here and why their head had to be substituted with another one will have to remain a mystery for now. Speaking of mysteries and buttons and shiny things in general, let’s head inside the church once more. You’ll see the woman’s head repeated, same scale, in the last photo. It is probably the wife of the photographer who took all the pictures below (and the main one above; not the picture within the picture, in other words), and who I won’t name for now for various reasons. It could be B. R. Marshall again but most likely isn’t, we’ll say — the “spirit” thing again.

A 1700 year old Yew Tree stands on the church grounds. Amazing.

The controversial brass plaque. Here’s the wikipedia article on the church again, which provides a link to one of the stranger sites on the subject.

—–

And these come from a different source that I will give the link to. First off, another shine link.

http://www.megalithic.co.uk/article.php?sid=10053

Two trap doors, then, both with sarsen stones underneath.

—–

Shiny Thing

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Filed under collages 2d, Wiltshire

March 1, 2013 · 8:46 am

Yes…

… I think Baker Bloch can be happy in Sansara Snow Country for another month.

The Power Tower Gowlery is coming along smashingly.

A couple of nights ago I created a flight of stairs to the 3rd floor (floor transparent from below), now containing the quite new and exciting Lis series, the 3rd of the new year. Didn’t expect this!