Category Archives: Carrcass Artists

Monroe 03

Central square: ready to *rock*.


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Filed under **VIRTUAL, 0031, 0417, Iowa, Lunch, David

00310416

Armed with more knowledge of a startling nature, really, I drove past the house with the white Robert’s son sitting sadly on the porch still, mouth agape, and with a lack of friends. I think back to how I got here, got to this point in time. Three letters floated before me, spinning actually, like around a common axis or center. R… B… T. All found under the fingernails of victims.

Leland Palmer burst through the front door of the Sheriff’s office, holding the same central or axial picture in front of him — partially obscuring his face — and saying he *knew* this man, who was a neighbor of his grandfather when he was growing up and who use to flick matches at him.

He believed his named was Robertson. Investigating Agent Cooper then exclaims to Twin Peaks sheriff Harry Truman standing with him before the blackboard: “Robert. Robertson. That’s what the letters are spelling. Hawk, get up to Pearl Lakes, find out who was in that other house.” But it was all a dead end, a misdirection possibly manufactured by BOB, who is the same as Robert’s son, also according to Cooper. The Son is the Sun. And that’s where we have to head next as front turns to back, ow ow ow. Painful past.

Halloween Tree. Lashings. You reach around to feel but realize your arm is bent back.

(to be continued)

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Filed under **VIRTUAL, 0031, 0416, Iowa, Lunch, David, Mountain Lake^, Omega^^

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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Filed under Bigfoot, Blue Mountain, Carrcass Artists

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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Whiteyes

(continued from)

collage05test07

Interpretation:

Base scene is the exact middle of The Shining movie, as defined by The Shining Forwards and Backwards audiovisual experiment talked more about here LINK. We have Rainbow Man Scatman Cruthers (chef Dick Hallorann in the movie) laying in his bed, encompassed by the colours of TILE: red, green, blue, yellow. I display the picture first here in this blog, which is now part of the “6 Weeks of Shining” hybrid document. Week 2 to be specific. The presence of TILE here inspired me to put a blend of primary hued lights behind his bed, highlighting a red painting above his bed in particular. This picture originally depicted a nude African-American woman, but now contains the nerdy Moss from the Brit hit TV show “The IT Crowd.” He warns new-ish boss Jen about passing through the red door into a secret room not known about before by her. “What’s Behind the Red Door?” is also the largest Kollage Kid collage currently exhibited in Collagesity (World of Collage gallery), formerly seen in the X-Spot Gallery. Hallorann, also an African-American, has intense white eyes. This is actually representative of the blend of primary light colours into white, the source of all.

This also stands for Whitehead Crossing as a blend of red (Red Head), green (Greenhead), and blue (Blue Skies Mr.). It is also a center… of my woodsy experiences in these here parts. It is the center of Frank and Herman Parks (most likely).

Whiteyes also stands for “Whitey” (1st 6 letters), which *Redd* Foxx occasionally called caucasians on his influential 70s hit comedy show “Sanford and Son”, always getting a laugh in the process. We’ve already seen several images of Mr. Foxx in the Sam Parr collage series from the past fall, namely collages 06/07 and collage 08. The characters of Whiteyes are also all African-Americans, including The IT Crowd character Moss.

“So what does it mean Hucka D.?”

Hucka D.:

This is center with a capital “C”.

bb:

A miniature Bugs Bunny lays on the bed beside Hallorann, his famous byline not traveling with him from earlier collages in the series. This would of course be “What’s Up Doc?”, now the name of an important album by the variant band Story Room, who are kind of The Residents. Don’t you think?

Hucka D.:

Obviously!

bb:

“What’s Up Doc?” is the primary source album of the audiovisual synch Carrcass-10, the next to last I’ve created. Going on 2 years back now, Hucka D.

Hucka D.:

Better put up the link.

bb:

This is also found in Week 2 of “6 Weeks of Shining”.

Hucka D.:

Good to know.

bb:

So obviously Bugs Bunny here represents that variant album, Hucka D., just like he did in the earlier collage 02/03 of the new series. What’s the name of this series, Hucka D.?

Hucka D.:

We do not have a name. We’ll have to call it Bob in the meantime.

bb:

This is the a/v synch I was talking to Chuck about while we walked the loop now called the Bunny Trail, in its honor. We merged through this loop, and then separated, I with my own past/present/future compositions and he with his own set. We were united through the synchronicity, that and others. But, at the end, Carrcass-10. He knows now.

Hucka D.:

Nose.

bb:

Yeah.

Hucka D.:

Well… what’s behind the red door anyways?

bb:

Red Head of course.

Hucka D.:

But what exactly is Red Head? We know that it is Anne Shirley with an “e”, before and after she briefly turned Greenhead in the Green Gables story. Right before she was accepted into that house by Marilla The Elder. Greenhead transferred to Green House. She had a roof over her head for the first time. Poor little orphan Anne.

bb:

Yes, it is Anne Shirley, as especially depicted in the postive carrcass: Carrcass+6 I believe I number it.

Hucka D.:

That’s all about Appalachian Spring. Green Stream( that runs through Red Head) is also an Appalachian Spring. Moreso even than TILE Creek, perhaps.

bb:

Maybe.

Hucka D.:

Even more than George Harrison Creek that runs behind your current house.

bb:

Okay.

Hucka D.:

So that’s one thing behind the Red Door. Obviously Red Head, the formerly unknown part of Whitehead Crossing until this spring, is behind this Red Door. Moss guards the door in the collage, just like Mossmen protected Red Head from incursions. How chancy is that?

bb:

Probably not very much so, Hucka D.

Hucka D.:

No. This is pre-cabin. You better get to an interpretation of the animation before this tonight. Start it anyhoot.

bb:

Thanks.

(continued in)

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Filed under collages 2d, Qbrick, Stanley, Shining, The, Whitehead Crossing

Genes 03

andersongravemarker

—–

“Well….? What did you and Chuck talk about?!”

bb:

Hi Hucka D. Well, we talked about the diagonal, starting at Constantinople. The diagonal in W4N1. I told him that’s how Story Room made their grand entrance into the world of carrcasses, [in] +3 to be exact.

Hucka D.:

You and he became one within that loop. Great! You told him about synchronicity wedged between intent and chance, starting in Dark Side of the Rainbow. That’s where it all starts. That’s where it will always start.

bb:

Yes. DSOTR isn’t chance and it isn’t intent. Not at the core. That leaves synchronicity. That’s the seed. Then the seed sprouts and turns into SID’s 1st Oz. I told him about Bunny Boy “What’s Up Doc?” How perhaps the strangest thing of all is that 8 songs were left from the album after I scoured it for synchs matches in the, let’s see, 4 previous synchs, starting with, um we call that one… hafta check…

https://bakerbloch.wordpress.com/2014/01/06/c-10-02/

Looks like I decided to call it “Black Man”. That’s the ending track to What’s Up Doc? And that table in [the] “C-10” [post] is that of Carrcass-10.*

Hucka D.:

Did you actually get to watch Carrcass-10? With Chuck I mean?

bb:

Well, we drove out to Frank Park to walk the loop. I should say that although this visit by Chuck of Story Room was similar to that of Roger Pine Ridge, it was channeled from the future this time to make safe.

Hucka D.:

9 months as I understand. Too early. Too soon. But good for safety, yes. Chuck didn’t hit you over the head with a beer bottle in this imaginary channeling session I’m assuming (laughs).

bb:

No. Not this time [around]. He was very cordial as you can imagine, and showed great interest in what I was saying. I was trying to tell him that his work — and I emphasized the later stuff here, like “What’s Up Doc?” — would stand the test of time. This is [the information that] the synchronicities provided me.

Hucka D.:

And your synchronicities, your carrcasses, would [stand the test of time] as well.

bb:

I suppose so, Hucka D. After all, the synchronicities are dependant on the musical and video sources. They have to stand the test of time hand in hand or it doesn’t work. They must go together.

Hucka D.:

So The Shining, “What’s Up Doc?”, and Carrcass-10 all walk together down the road of time.

bb:

I guess so.

Hucka D.:

But he also urged you to [re-]become a composer yourself. He said you are not him, and that you must make your own path.

bb:

True, we shared the loop, walking around and around again and chatting. He said he thought “What’s Up Doc?’ contained a special energy as well. A rekindling of the peak of the golden days. I told him I thought “What’s Up Doc?” was about as strong as “Strange Creek” from 1978. He seemed pleased.

duckwv

Hucka D.:

No one likes to hear their glory days are far behind them. True that was [the peak of] their classic period. But you can have several peaks. The carrcasses themselves now have several peaks. And the peaks are the same [between the carrcasses or synchronicities and the Story Room albums in question]. That’s the really cool part. At some point…

bb:

The Diagonal…

Hucka D.:

The two flows latched onto each other. They cannot be separated in time/space. They have intertwined, intermingled. They walk a loop together. But they are not the same.

bb:

I’m trying to remember what else we talked about… took a while to explain the audiovisual synchronicities.

Hucka D.:

Did he accept that “What’s Up Doc?” was composed with Carrcass-10 in the background — The Shining?

bb:

Maybe.

Hucka D.:

He didn’t follow you up the hill. To Priorsburg?

bb:

No. We stopped walking the loop and got back in the car to go home. He had to leave the next day.

Hucka D.:

You watched synchronicities that night?

bb:

We watched “What’s Up Doc?” The videos.

6743

—–

* I got confused here and didn’t finish my train of thought. I was attempting to explain to Chuck that 7 of the remaining 8 (of 19 total) tracks of What’s Up Doc?, the ones I had left over after the mentioned “scouring”, were then employed in Carrcass-10. And they fit *perfectly* each and every one. No holes. “How could this be?” I asked Chuck as we continued to pace around the loop. We were nearing the bridge across the creek that led from the mostly drained pond. I later counted the rungs: 19 total.

IMG_0201smaller

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Filed under Carrcass Artists, Frank Park, Gene Fade's Mtn.