Category Archives: COLLAGES

Thoughts: Chesterton, Etc.

lions_tigerville

“It’s obvious that the Chesterton happening would take root when we were watching “6 Feet Under”, Carrcassonnee.”

Carr.:

I am here. Yes, the second Chesterton in Indiana, and the only remaining one in the US as a whole. Hole? Anyway, it indicates this yes. Good.

bb:

I watched the synch featuring “6 Feet Under” today, Carrcassonnee. Do you know the one?

Carr.:

Yes. I am Carrcassonnee.

bb:

Great. I enjoyed it, as usual. Probably watched it 30-40 times now. It’s one of the most complicated I’ve been able to tape. Over 90 tiles within.

Carr.:

I am here.

bb:

But looking from the outside, without prior knowledge and understanding of the structure, it could be confusing.

Carr.:

Yes. Don’t blame others.

bb:

Is Bigfoot around in Bigfoot? Had to ask.

Carr.:

They are keeping a [certain] distance.

bb:

Where’s Hucka D. in all this?

Carr.:

Hucka D. is more behind the scenes[ now]. (pause)

bb:

Is it because of the establishment of Collagesity as a permanent installation?

Carr.:

In part. We need for you to talk to someone a little more solid. Me.

bb:

Claire Fisher is at the beginning and the end of the synch. Alpha and omega. And it’s one tile, broken in two. The first shows her death at age 101, I believe. The second continues the journey to the city where she can truly begin her career as an artist, a photographer perhaps. She is the frame. The construction barrels above Chesterton are her.

Carr.:

Fishers, yes. Clare Fisherburg. I dig it, as Chester would say.

Chester:

Dig it!

bb:

Then there’s one several tile[s] within the synch that shows her mother, Ruth Fisher. She has just allowed Bill Murray to enter her house in the tile before, and then in the next she takes the place of Murray, stating she doesn’t need to come in — Arthur’s room. She’s rented a video. She doesn’t have [Murray’s] flowers in her hand any longer. Flowers to video. It’s “Silent Running” which stars Bruce Dern, featured in a recent carrcass Carrcassonnee.

Carr.:

Carr-11. I know.

bb:

[About] Nebraska. Then we have Ruth again in 2 other tiles just after this. It’s kind of a weak spot of the sync as a whole.

Carr.:

We’re talking about Waits 4 No 1. Not Carr-11.

bb:

Yes. Anyway, she and Arthur watch the film, and we tune in, in the synch, when they are almost done and are watching the ending credits. This cuts to a porn film after we return to Whose Line is it Anyway, with Ryan attempting to demonstrate how a Sperm Bank ATM works to Colin.

Carr.:

Funny. But, yes, it is cut.

bb:

Both Arthur and Ruth are very embarrassed that the porn thing is on TV when the video is cut off. Then we head to Dune.

Carr.:

I am Dune.

bb:

I wonder if a new synch could feature Silent Running?

Carr.:

2010.

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Tigers

tiger01

Clare. Fisher. Fishers.

https://en.wikipedia.org/wiki/Fishers,_Indiana

Fishers is a city located in Fall Creek and Delaware Townships, Hamilton County, Indiana, United States, with a population of 76,794, according to the 2010 census. A suburb of Indianapolis, Fishers has grown rapidly in recent decades: about 350 people lived there in 1963, 2,000 in 1980, and only 7,200 as recently as 1990. In 2011, Fishers was named the number one city for families by The Learning Channel and was selected as a Green Community by the Indiana Association of Cities and Towns.[6] The city was named the safest in the nation by CQ Press for 2011-2012[7] and 2012-2013.[8] In 2010, Fishers was ranked eighth in the best places to live according to Money magazine,[9] America’s best affordable suburb by BusinessWeek,[10] and the eleventh best place to move in the country by Forbes.[6] Fishers was also ranked the 24th best place to live in America by Money magazine in 2005,[11] 33rd in 2006,[12] 10th in 2008, and 12th in 2012.[13]

The 2000 census reported the population of Fishers at almost 38,000.[25] With the town’s affordable homes, growing economy, and proximity to the booming city of Indianapolis and Interstate 69 the growth in Fishers was tremendous. In 2003 the town of Fishers requested a special census from the U.S. Census Bureau to accurately measure the rapid population growth since 2000.[18] This census would put the town’s population at 52,390, which is a 38 percent increase from the 2000 census.[18] Since then much of the government’s resources have been devoted to building parks, maintaining roads, and managing the rapid growth of the town.

https://en.wikipedia.org/wiki/Six_Feet_Under_(TV_series)

Six Feet Under is an American drama television series created and produced by Alan Ball. It premiered on the premium cable network HBO in the United States on June 3, 2001 and ended on August 21, 2005, spanning five seasons and 63 episodes. The show was produced by Actual Size Films and The Greenblatt/Janollari Studio, and was shot on location in Los Angeles and in Hollywood studios. The show depicts members of the Fisher family, who run their funeral home in Los Angeles, and their friends and lovers. The series traces these characters’ lives over the course of five years. The ensemble drama stars Peter Krause, Michael C. Hall, Frances Conroy, Lauren Ambrose, Freddy Rodriguez, Mathew St. Patrick, and Rachel Griffiths as the show’s seven central characters.

Six Feet Under received widespread critical acclaim, particularly for its writing and acting, and consistently drew high ratings for the HBO network. Regarded by many as one of the greatest TV series of all time, it has since been included on TIME magazine’s “All-TIME 100 TV Shows”,[1] as well as Empire magazine’s “50 Greatest TV Shows of All Time” list.[2] It has also been described as having one of the finest series finales in the history of television.[3] It won numerous awards, including nine Emmy Awards, three Screen Actors Guild Awards, three Golden Globe Awards, and a Peabody Award.

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Year in Review

The long Xmas break is coming to a close. I *love* being off from work, but I guess most people at this point in time could say that. According to Forbes at least 2 out of 3 Americans dislike their jobs. Still there are worse options, like unemployment, like living in a town I really don’t like (I do still like Blue Mountain quite a lot, just not as much as in earlier years). And I can see the finish line of my job now — 5 more years or so, perhaps 6. And that’s it.

As I’ve probably already written about here, I am very pleased with the progress on Sunklands, which is now a blog wrapped up in a legitimate web site (still bakerbloch.com for now). I see the blog as sort of a volcano of ideas, spewing forth strings of energy. I might have just finished up a round of Collagesity style fiction, for example. Before that I was heavy into the interpretation of the Boos collage series. Before that, the focus was on physically making the collages of that series. And so on back down the line. But sitting behind the blog are also several other projects I don’t talk about as much. The Sunklands site now seems to center around the collage art of me, baker b. But running in the background all the time in low hum mode is the maps research. It predates the digital collages, it predates audiovisual synching: for over 30 years now I’ve been working on this one project, trying to figure out how to put it in some sort of published form. And despite at least one valiant attempt, I’m still not there. Probably in about 10 years time I’ll release a version of the research but with the understanding that new editions will be forthcoming. I look forward to retirement for time to focus on that very important life project as well. The hybrid “Map Synching Feeling” from last year is a nod in this direction.

So let’s just break it down into categories:

Collages:

Very pleased, once more, with progress on collage work. 2 10 work series came in the first half of the year, and then the 30 piece Boos series happened in November and December. If I can keep doing 2 or 3 series a year like that for the rest of my life I’ll be pretty happy. It’s very very important to allow time for 2d digital collage making. It’s become my bread and butter, along with overall blog development.

And I have to add here that collage *interpretation* worked out well this year too. My interpretation of the Boos series might be my best writing yet in that vein. I also worked quite hard on the Stonethrow series interpretation in May, but that was only 10 collages as opposed to the 30 in Boos.

Audiovisual Synching:

Another type of collage in my mind, and one that keeps chugging along, although not at the hot pace of 2004-2007, or even 2013, another big synching year for me. But they still come. Carrcass-12 was formed this year in September. I still need to tape it, but I seemingly have all the elements in place now to do so. In a way, *this* is the center, and 2d collages just emerged from it instead of visa versa. But, really, the two go hand in hand in a bigger picture.

One thing I don’t worry about, at least presently, is making any money off of these collage creations. Setting that on the backburner has allowed me more freedom to experiment. For example, I’m always examining the idea of a work of art as self contained vs. being part of a series of at least 10 works. Obviously to the general (buying) public the former would be more understandable and probably more desirable to exhibit on their own. But without the flow of ideas behind the work, collages seem hollow and more insubstantial and, eventually perhaps, even dispensable. It’s a large topic. And this goes along with the needed interpretation of said series, adding depth. It’s almost two sides of one thing: like the moon, collages have a light side (surfacely viewable; contained) and a dark side (hidden meaning; boundless). To explore both, for me, is to better see the whole.

Virtual Reality:

This year, probably for the first time in my Second Life involvement, I’ve kept together a virtual town for *a whole year*. That’s quite an accomplishment in and of itself. But, viewed in another way, maybe it’s a non-accomplishment, because I’m always going back and forth whether to sell the land at the first of the month, or even abandon it. Witness the “move” to Nautilus continent and the Mysten sim this past summer. Witness the more recent Nautilus City rentals. Just last week Spongeberg Resident decided not to destroy the town in January and shift everything over to that island city. And I’m well aware that Second Life will not last forever, and that if I retain a virtual presence it will soon have to come through some kind of other platform. But I haven’t found that platform yet, and so my involvement with Second Life and virtual town making there persists. I’m thinking that the name Collagesity might be carried over into a post Second Life existence. I just like the name.

Art (Toy/Junk) Happenings:

One for this year: Bigfoot. Another big success story. Taking place on the western edge of the Blue Mountain Urban Landscape, October’s Bigfoot art happening forms a great synthesis of junk, toys, and marble races, my best effort yet in that direction and a template of sort for all happenings to follow. Where is it headed? I’m not sure, but the happenings have become an indispensable part of my art now. They are also entwined with woodsy exploration. So let’s go to that next…

Hiking/Exploring:

The weather has been super nice in November and December this year, allowing me considerably more hikes that usual for the time period. I have a backlog of photos to upload to the blog, actually, involving several more extensions of the Blue Mountain Landscape beyond Bigfoot (and Rediscovery). But Bigfoot is the big find of the year since it is attached to the successful happening. And the Blue Mountain Urban Landscape itself, taking a focus away from nearby Frank and Herman Parks. Too much stress, I feel, has been laid upon the latter to carry forth my art happenings, with Whitehead Crossing at the center of that quandry. More on that in a post to come. But Whitehead X-ing keeps being developed in its own way, and, as it seems to be turning out, in a *different* direction than the art happenings. Very important point there.

Sunklands Blog:

It keeps keeping on! I’m one of those that took to blogging like a duck to water. I can’t see that coming to a halt anytime soon. It also acts as or subs for a personal/ work journal. I sometimes talk through life problems via the blog’s various characters. I find refuge in a virtual village when the outside world becomes either physically or emotionally harsh. I weather the storm there and blog about it. I always seem to emerge a stronger person, and better because of the challenge. Thank you Sunklands!

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Filed under **VIRTUAL, ., Bigfoot, Blue Mountain, carrcasses, collages 2d, Frank Park, Herman Park, Heterocera^^, Lower Austra, MAPS, Nautilus City, Nautilus^^, Rubi^, Whitehead Crossing

Notes and News

Outside: rain rain rain for the past week and more coming. So no new blog posts on the greater Blue Mountain area. 😦 But I plan to take several days off soon for fall leaf hiking when it dries out, and to still create some kind of toy happening… somewhere. Maybe Bigfeet Swamp. Maybe Rediscovery. Maybe still in Herman or Frank Park (Whitehead Crossing?).

I’ve taken advantage of being basically stuck indoors recently to create a new carrcass, or what in real life I call an audiovisual synchronicity. I can’t give much detail about it, however.* Currently I’m sprucing up The Table, a directly attached creation. I should have the carrcass ready for viewing by Monday or Tuesday at the latest.

Hucka D.:

I heard you want to talk about the latest creation. And the hiking. Where to put the happening? You’ll see.

—–
* Except this: Remember.

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Baker B. Interview, August 2015

Interview of Baker B. by Karl Tune, up and running!

https://bakerbloch.wordpress.com/baker-b-interview-2015/

This is the twin to the Karl Tune interview already completed. A 2 fer 1 dealie as I described it within!

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Karl Tune Interview, July 2015

My interview of fellow audiovisual syncher Karl Tune has been completed. I didn’t know some of the info he talks about and you might not either. Enjoy!

https://bakerbloch.wordpress.com/paradox/syncher-interviews/karls-interview-2015/

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Synch Talk 01

“You better think about tiling again.”

BB:

Thanks Carrcassonnee. Tiling comes in three flavors, like vanilla, chocolate, strawberry. Instead we have what I call silver, gold and platinum tiling. Silver tiling is album dominated like the one-play Dark Side of the Rainbow dominated by the album Dark Side of the Moon. We have the entire album within the synch. We only have 2/5ths of The Wizard of Oz movie, and that even without its soundtrack, since that’s dubbed over by Dark Side of the Moon. Then in a gold tiling we shift the emphasis from album or audio source to movie or video source. The movie begins to act as the template for the synch. A perfect example of this is SID’s 1st Oz, which tiles the entire Return to Oz movie that acts, in turn, as a direct follow-up, as it were, to The Wizard of Oz.

Carr.:

You forgot Rainbow Sphere.

BB:

Yes. Thanks for that. And a gold tiling can contain several silver tilings or equivalent silver tilings within it, like SID has 3 within it. I’m not sure anyone else was doing that at the time, however. Then we can shift to platinum tiling, another jump up. Platinum tiling favors neither album or movie. Both have to work together, one with the other, to form something higher — a meta-movie in effect. No, not a meta-movie, as I’m checking the definition. A hyper-movie. And a hyper-album.

Carr.:

You better explain it better than that to Karl (!)

BB:

Yes. Thanks again for that. A platinum tiling has links between involved movies and involved albums. Specific examples are needed. Let’s take Uncle Meatwad (again).

Carr.:

Good. I always liked that one the best of your examples.

BB:

Thanks. Uncle Meatwad has four video sources and also 4 involved musical artists. What are the links? How does it all fit together? First we have to understand that the synch is dividable into 3 logical parts with the overall pattern A-B-A. That is, the first and last parts are matched, or, better, reversals of each other. This same pattern appears in a lot of my synchs, and in PB, perhaps the best of all of ’em.

Carr.

I haven’t watched that one. I haard it is good.

BB:

Then the middle part is separate from both. In Uncle Meatwad the middle part is overlapped with Firesign Theatre’s Everything You Know is Wrong album from 1974, one of my favorites from them. You have maybe 6, 7 or 8 tiles using this album in this central region. “Everything” does not appear, however, in parts 1 and 3. It is exclusive to Part ii, and lends itself to its uniqueness as opposed to the other parts. Instead in parts 1 and 3 we have use of one other Firesign Theatre in Uncle Meatwad, and this would be “2 Places”. 2 tiles using it appear in part 1, and another in part 2. And that’s it for Firesign Theatre within the synch. And, in fact, that’s it for Firesign Theatre in any of my synchs so far… past this one. Overall it’s used in 5 others, and all date from 2004-2007, or this peak creative period of mine in terms of a/v synching. This is when the platinum style of synching was strongest. Uncle Meatwad was the final synch of this period as I’m figuring it.

Carr.:

What are the synchs from this period? Can you say? Do you feel comfortable saying? Because I want you to feel comfortable saying. If you feel like it. Do you feel like it? I’m just saying. Only if. Only.

BB:

Billfork, Head Trip, 4orrin1, Frank’s Moving Mountain, Pretty Bunnies, W4N1, PB, 1Pink, and then Empire Strikes Brak and Uncle Meatwad to close it. That’s 10. But there’s also [the smaller] 3 Friends of Belleville and Pumpkintwisters between Billfork and Head Trip. So: 12. 12 from this period.

Carr.:

There, that wasn’t so harrd.

BB:

No. Firesign Theatre is found in Billfork, Head Trip, 4orrin1 — the first three of the period. And then again in Pretty Bunnies (skipping over Frank’s Moving Mountain, where they aren’t used), and then 1 Pink and also Uncle Meatwad. 6 synchs like I said. And they can also be paired in 3 sets of twos. Billfork and FT within are most like Uncle Meatwad. That’s the beginning synch of the period and the ending synch. Both have Firesign Theatre as the primary audio source, with a primary album to draw upon but also a secondary album figuring into the mix. Billfork and Uncle Meatwad are close in size tile-wise, with 32 for the former and 37 for the latter. Billfork and Uncle Meatwad are twins. Both employ the music of John Lennon in a larger way. Lennon is not used in any other synch apart from Beatles’ music. There’s a pattern to that as well.

Carr.:

You better stick to Firesign Theatre or you’ll never get out of here (!)

BB:

Then Head Trip and Pretty Bunnies are also twins. They contain the same exact number of tiles: 47. One Firesign Theatre album in each: “Dwarf” for the earlier Head Trip and “Bozos” for Pretty Bunnies coming along about a year and a half later. In Firesign Theatre chronology, “Bozos” is the album coming directly after “Dwarf”. The members of “Firesign Theatre” considered “Dwarf” their best album if I remember correctly, but “Bozos” is top notch as well.

Carr.:

How are all these Firesign Theatre albums synched up to movies?

BB:

Well, to complete this we have “Rat”, the album after “Bozos”, used in 4orrin1, a massive synch composed of perhaps close to 200 tiles, if you include dialog tiles and I do. And then about 6 tracks of a later album from 2000 I believe is found in 1Pink, a second massive synch of similar size to 4orrin1. These are my 2 largest synchs tile-wise by far, outpacing PB and w4N1 by an almost 2:1 margin, I would suppose. But the use of Firesign Theatre within each is somewhat contrasting as well. 4orrin1 represents my most extensive use of the comedy group’s work in a synch. 1Pink represents the least use. It’s interesting to me that “Rat”, considered by some a secondary work, fits this role and not, say, “Dwarf” or “Bozos”. But: there it is.

Carr.:

Movies, though. Keep going.

BB:

For Billfork there’s only 1 movie and that’s Northfork. So Firesign Theatre in that synch is obviously tiled to that movie. For Head Trip it’s *almost* exclusively the movie “Head” by The Monkees, but spilling a little into “The Trip” at the end. “Head Trip” is solely composed of these 2 movies, and represents my first true platinum synch I suppose you could call it. Then in 4orrin1 “Rat” tiles many movies, perhaps 12 or 14, or most of those in the synch. 4orrin1 is the platinum synch extended to its logical conclusion in many ways. A peak work, like SID is a representative work for a gold tiling. But I don’t think it is the best platinum work, which I would reserve for PB or 1Pink. But anyway, Firesign Theatre in Pretty Bunnies mainly uses the cult sci fi/surrealist flick Donnie Darko. And then in 1Pink it’s several movies again, “Lulu on the Bridge” for one, but also Mulholland Drive and LOST. The use of Firesign Theare in 1Pink is interesting, and connected to matching hatches of LOST. In fact, they are the same hatch or station. Then we come to Uncle Meatwad again. I believe “INLAND EMPIRE” is the main video source tiled in that case. Oh, and the Aqua Teen Hunger Force movie of course. Both of those. That answer your question?

Carr.:

Oh suppose so. What is the point of all this?

BB:

Rehearsal.

Carr.:

You will not say anything of this in the interview. Anything. What will you say instead?

BB:

I will have to explain some of 4orrin1 or all will be in vain. I’ll call it Foreign One.

Carr.:

Good. You can mention Head Trip. You can mention Billfork. And Foreign One. And that’s it. That’s it.

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