Category Archives: Carrcass Artists

May 19, 2015 · 3:41 pm

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

April 10, 2015 · 4:28 pm

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.

April 3, 2015 · 1:20 pm

Red Head + Greenhead 01

First there was an incident: The Carrots Incident.

This led to Anne buying spurious dye from a road peddler who claimed it would turn her hair a beautiful raven black. No more Red Head.

But the product turned her hair green instead. She temporarily became a Greenhead. Then this was quickly followed by Marilla adopting Anne as a “kindred spirit” to live with her and her brother Matthew at *Green* Gables. She wouldn’t be sent back to the orphanage. The temporary color of the hair was absorbed into the color of the house and transmuted.

Anne Shirley subsequently learned to accept her red hair with this fixed center established, seeing it not so much carrot-like.

I connect all this to Whitehead X-ing because the Green Gable scenes I give a link to above are in Carrcass+6, along with a lot of other pieces of the original Anne of Green Gables tv movie starring Megan Follows. And the audio from the second clip (green hair incident) is also used in the next carrcass beyond this, or Carrcass+5 (remembering that successive positive carrcasses are numbered backwards from 8 to 0). In C+5, Anne Shirley is directly paralleled with the namesake wizard Howl of Howl’s Moving Castle, who was also very distraught over a hair dying incident. *His* hair turned a carrot-like *red*, but then this was quickly replaced by the raven black that Shirley desired so much at the time. Then *everything* turned green and Sophie leaves, saying she’s had enough of this place (Howl’s castle).

http://www.reelz.com/trailer-clips/48978/howls-moving-castle-clip

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Filed under Carrcass Artists, Frank Park, Whitehead Crossing

March 19, 2015 · 12:57 pm

SID’s 1st Oz

baker b.’s personal synch journey through the golden age of synching, part vi of vi (we’re done!)

I wanted to go ahead and finish the series off this morning if possible. I’m sorry to disappoint some of you but I’ve decided not to post a link to the video files this go around. I can send them to you individually through messaging if you wish. I watched most of SID’s 1st Oz yesterday while the wife was in class, but fell asleep before reaching the end. I was still impressed by the power of the first half, however. It’s just that I had a full stomach and also was drinking some wine. You know how that goes.

A little bit of background. I served as administrator for a co-op forum called The Film/Album Synchronicity Board from about June 2000 until Sep 2002. I remember the last month especially because it was when my father died. An end in more ways than one. Walt SIDney’s Fantasia 2000 and Horton Hears The Who lie on the near side of this end, while The Point of The Wall and SID’s 1st Oz came after it, or Nov. and Dec. 2002 approximately. In looking at SID yesterday and seeing Dorothy re-enter Oz after crossing the Deadly Desert again to the accompaniment of Jethro Tull’s A Passion Play album, I was reminded what this synch might be most about, and that’s the subject of death. Namely Oz = death, The End. Or, more specifically, the afterlife.

I don’t have a SID’s 1st Oz website to fall back on in this case, unfortunately. I’ll have to describe it as briefly as possible. We’re dealing with 26 base tiles here, or almost 3x the amount of what I’d used in any synch up to this point. Four artists are employed: Jethro Tull, Queen, Roger Waters (1st solo album; with Ron Geesin) and Syd Barrett (1st solo album as well, plus 3 of his Pink Floyd tracks). The works of these artists are not isolated in big blocks this time, like Walt SIDney’s F2K, but are woven into each other to create a larger whole. And like with Pink Vertigo, Horton Hears The Who and The Point of The Wall, an overall storyline is highlighted. Aiding this cause are numerous bleedthroughs of dialog from the Return to Oz movie, many more than what appeared in MessiaenSphere. I’d say there might be close to 50 of these without an actual count.

Center is strongly emphasized, carrying forth or transposing the strong center of the Passion Play album (the enigmatic Hare Who Lost His Spectacles tale). That’s different as well. And unlike Horton Hears The Who and The Point of The Wall, I didn’t just pick and choose tracks to match the video. They are inserted into the synch in almost the same chronological order that they are found on the albums. 1 artist is bonded to 1 album in this manner (except for Barrett and the early Pink Floyd stuff). SID’s 1st Oz is also divided into 4 “regions”, each with similar qualities. It’s a difficult synch to describe without illustrations. I’ll direct the more curious here until further notice:

http://www.appstate.edu/~brittanma/paradox/paradox15.html

I was also speculating this morning about “what ifs”. What if I decided to keep The Film/Album Sync Board going and attempted to push the envelope and raise audiovisual synching to a higher ground. Perhaps a more polished, more accessible SID’s 1st Oz could have helped some. If we hadn’t been beaten down by copyright issues… But I decided it all had to be let go of. And I believe a part of me died there as well. Slowly but steadily, you recover and move on. That’s another series altogether, probably for a different arena.

So let’s just see what happens next, shall we? 🙂

Thanks a bunch,
baker b.

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Filed under Carrcass Artists, SID's 1st Oz

March 18, 2015 · 2:22 pm

Rock Operas

Part v of vi of the series describing baker b.’s personal journey through the golden age of synching… coming at ya! Former parts here:

https://bakerbloch.wordpress.com/category/carrcass-artists/

We remain in 2002 for the twinned synchs Horton Hears The Who and The Point of The Wall, created about 4 months apart during the second half of the year. Both employ a famous rock opera on the audio side, and perhaps the 2 most famous: The Who’s Tommy and Floyd’s The Wall respectively, both double albums. The dubbed videos are “Horton Hears a Who!” and “The Point”, two lower grade animations from 1970 and 1971. In each case the album is edited to scenes from the film. The main difference is that the base film for Horton Hears The Who remains unbroken and whole in the synch, while The Point is edited to fit The Wall as well as visa versa. Otherwise the two synchs are quite similar to each other, with parallel climactic moments.

Horton Hears The Who has 6 separate tiles. The Point of The Wall is a bit more complicated with 9. Each are similar in length (approx. 25-30 minutes). These are more compact and somewhat less ambitious works that either Pink Vertigo or WSF2K. The strength is an attempted fused storyline between audio and video. The editing is a bit rough as this is all analog generated still, so apologies for that — hope it doesn’t detract from the overall experience. See what you think.

Next up: the final part featuring SID’s 1st Oz; where it was all heading…

password: synch
https://www.dropbox.com/sh/642ntpd6l3zh7lc/AAASpdCW6W8IGjC2GNgvFz04a?dl=0

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March 17, 2015 · 12:53 pm

WSF2K

Part iv of vi relaying baker b.’s personal journey through the golden age of synching (1997-2003 or so). Parts i-iii are here…

https://bakerbloch.wordpress.com/category/carrcass-artists/

Our trip brings us now to Walt SIDney’s Fantasia 2000, which represents another step up for me at least in terms of producing an obviously synchy and quite watchable work. Like Pink Vertigo, this is an attempt to tile a complete or equivalent complete movie with audio. Unlike PV, devoted to Pink Floyd alone (albeit tracks from a number of their albums), WSF2K cracks open the barn door a bit more to allow artists like Nirvana, Stevie Wonder, Radiohead, Paul McCartney, and Electric Light Orchestra to enter and join in the fun, in addition to, yes, a pretty hefty dose of Floyd at the end.

I was pleased to find an old website on the subject last night, so perhaps I won’t have to yammer on as much about this one. Check it out here if you wish…

http://www.appstate.edu/~brittanma/oldersites/wsf2k.html

http://www.appstate.edu/~brittanma/oldersites/wsf2k1.html

Here are the lyrics for the various tracks…

http://www.appstate.edu/~brittanma/oldersites/wsf2klyrics.html

Some key ideas:

WSF2K evolved directly out of Shared Fantasia, the latter which I consider a pivotal work in the golden age of synching for certain. I was pretty shocked to find out I could create a virtual double or twin in so short a span (3 nights). 10 cues are involved, with the last cue spanning 2 animation segments and playing right over the gap where Angela Lansbury is introducing the last one. Interestingly, that final animation, dubbed by the Floyd song “Sorrow” (original music: Igor Stravinsky’s “Firebird Suite.”), may represent the best stretch of synchronicity in WSF2K and one of the best I’ve been able to produce in my own work. Yet since the cue of this tile comes in the animation before it (which also works quite well in and of itself), the section can be viewed as being further away from manipulation or *synchronization* than anything else in WSF2K; ironic juxtaposition, then. Synchronization and synchronicity become more mixed up here and hard to surfacely differentiate.

The weakness of WSF2K, and by association, Shared Fantasia, is the lack of an overall storyline, like we had in Pink Vertigo. The animation blocks in both Fantasia and Fantasia 2000 are separate from each other and do not weave together in any way except through commentary. We’ll deal with this issue more in the next part of my personal journey through the golden age of synching: “Rock Operas”. See you then!

password: synch
https://www.dropbox.com/sh/f7q60xyq2hptrmy/AADpis9nsx6KLPKrwsALedr8a?dl=0

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March 16, 2015 · 1:39 pm

Pink Vertigo

Facebook:

Previously:

part i:
https://bakerbloch.wordpress.com/2015/03/10/23204/

part ii:
https://bakerbloch.wordpress.com/2015/03/11/messiaen/

Part iii (of vi, I believe) of baker b.’s personal journey through the golden age of synching brings us to Pink Vertigo, a still solid looking early synch from late 2001. PV represents my first attempt to tile, with various cued regions, a whole movie or equivalent whole movie. This would be Alfred Hitchcock’s enigmatic Vertigo, which some rate his best. Personally I would select Rear Window for that title, but — apologies to Nightmare Before Christmas and The Wizard of Oz — Vertigo is still probably the best film I’ve worked with on a synch to this point. I think the jump up in complexity here is, in part, an attempt to match or resonate with the energy Hitchcock put forth in this masterwork.

We have not 1 cue (MessiaenSphere/ Piper’s Nightmare Xmas), not 2 (Full of Secrets), not 3 (Messiaen Trek), but 9 now in Pink Vertigo. The first tile I found in the synch would be the cue between the title sequence of Vertigo and the 1st track from Pink Floyd’s soundtrack album “Obscured by the Clouds”, which many consider the best among their several offerings of this kind. This would also become the first tile of the completed Pink Vertigo synch. The following 8 cues/tiles came in a bunch a bit later. These are their conditions:

1. Use the *first track* from all of Pink Floyd’s pre-Dark Side of the Moon *studio* albums *except Ummmagumma* to equivalently tile the movie Vertigo in a front to back fashion.

In order, these early Pink Floyd studio albums (minus soundtracks) are: 1) Piper at the Gates of Dawn, 2) A Saucerful of Secrets, 3) Ummagumma, 4) Atom Heart Mother, and 5) Meddle.

2. Start at Atom Heart Mother (no. 4 studio album) instead of Piper at the Gates of Dawn and work in chronological fashion to Meddle (no. 5) then back to Piper (no. 1) and Saucerful (no. 2). Again, in the middle of the synch, as it were, we “skip” Ummagumma (no. 3), which has already been used in a baker b. synch I might discuss later.

3. Repeat the process twice in round robin fashion.

4. Although divided into a number of sections to increase royalties, I’m counting the entire Atom Heart Mother title composition as track 1 of the album. When you repeat its use in Pink Vertigo, you simply pick up exactly where the first part left off. So part 1 of Pink Vertigo employs sections 1-3 of this title track, and part 2 of Pink Vertigo uses sections 4-5. Section 6, the last, is left out of the mix.

5: One last condition: Instead of using the 1st track of A Saucerful of Secrets we are using the *last* track in this synch (“Jugband Blues”) — in both parts. This is the also the track ending parts 1 and 2 of the synch.

Sounds complex I know but it’s pretty straightforward when you look at it and if you know the Pink Floyd albums involved. Oh… one more trick. There’s a dialog bleedthrough in part of the second Atom Heart Mother tile.

See what you think. Next up: Walt SIDney’s Fantasia 2000. Thanks for reading!

Password: synch

https://www.dropbox.com/sh/s5ncax5ukodo28e/AACNM12xwdwzNLp2Vp91OHRua?dl=0

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March 11, 2015 · 2:24 pm

Messiaen

Facebook:

Part ii of baker b.’s personal journey through the golden age of synching. Part i can be found here now… link up for several days more on that one. https://bakerbloch.wordpress.com/2015/03/10/23204/ Regarding the newest batch, we have two movies dubbed by the late music of 20th Century composer Olivier Messiaen. Classical music synchs were rather uncommon in 2000 and 2001, when these were created. Messiaen is one of the giants of the last century, and ranks pretty high on the list, I would assume, among all composers by now.

Messiaen Trek starts out with an accessible piece from Concert à quatre called Vocalise, akin more to Messiaen’s early work. This is overlapped with the Enterprise entering the gargantuan V-jer cloud in Star Trek The Movie. As Kirk then roars out an additional command to go further into the cloud after some debate with others (mainly visiting Comm. Decker) we ride along accompanied by Un Sourire (A Smile) from 1989, composed by Messiaen for the bicentenary of Mozart’s death. The track is suppose to run unbroken in the synch. However, two pieces of the movie are employed here, with the second starting right as Spock’s stolen jetpack fires, flinging him toward the heart of the cloud and the encounter with an emotionless deity.

MessiaenSphere is the natural counterpart to Messiaen Trek. It’s not one I’d recommend for introducing an outsider to the world of synchronicity. It’s not as openly synchy as Messiaen Trek either (which *might* be a good introduction). But MessiaenSphere’s the complement nonetheless. At about 42 minutes it’s almost triple the time of MT. We also travel through water instead of space, but in each there is a critical and climatic encounter with an alien being, a sentient golden sphere from the future in the case of MessiaenSphere. MSphere also involves just one cue, but with some added tricks. The music is Illuminations from the Beyond (1994). Only tracks 1-2, 4-5, and 7-8 are used in the synch, with 3 and 6 cut away. The second trick is the bleeding through of 6 stretches of dialog, with the music still playing in the background.

I’ll leave it at that — see what you think. I’d definitely start with M Trek here, and then move on to MSphere if you enjoy the music and find the concept interesting. Otherwise I’d save your eyes for other synchs — don’t force the enjoyment. smile emoticon This will be up for about 7 days, once more. Enjoy if you can and if you wish!

https://www.dropbox.com/sh/16e82o7pxx6snzo/AAAnNslt1EKGk8Xya8_Qqnhka?dl=0

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March 10, 2015 · 7:42 am

Early Floyd

Facebook:

Okay, here’s the first batch of historic synchs by baker b. during his journey through our golden age of synching. I’ll leave the links up for about a week at a time. Again, I post these for EDUCATIONAL purposes only… I’ve NEVER made a cent off of the synching hobby that I recall. It’s a labor of luv.

To disappoint some, perhaps, I’m going to leave out the DSotR/Rainbow Sphere tension story that takes place at the beginning of my synching experience in the later 90’s, and jump into the next century with…

Piper’s Nightmare Christmas, Full of Secrets (2000, 2001)

These were created about 8 months apart as I recall, but yet they can be treated as a set. PNC is one of the first synchs that I knew about using early Floyd for the audio, in this case the Piper at the Gates of Dawn album, their first and also Syd Barrett’s showcase work. We start not at track one, however, but five: Pow R. Toc. H. This synchs quite nicely with the opening of the film. This is, in Randy T.’s words, a one drop synch in that you cue the audio and video together at a certain spot and just sit back and enjoy. You’re finished with the manipulation aspect. Let the album just play till it’s ended, through tracks 6-11. Now this is a bit different from DSotR in that I used an internal cue where the movie shifts in focus during the bridged transition between tracks 7, the fabulous Interstellar Overdrive, and track 8, The Gnome. The tracks on the far side of this are lyrics oriented, and music slanted on the near side, so the tone of the synch changes considerably as well at this midpoint.

I watched PNC yesterday again for the first time in quite a while. Like I said track 5 still works pretty great, but track 6 doesn’t have much to match with in the video. We rebound in track 7 with a nice opening, and I think that one works all the way through if you imagine that we are continually following Jack during his journey toward and into Christmastown. I personally see Jack Pumpkinhead, the star of the movie, as a Syd Barrett figure, successful as an underground star in The Pink Floyd Sound but falling into the traps opened up by more commercial success with Pink Floyd. Jack’s crazy attempts to merge Xmas and Halloween mirrors Barrett’s inability to blend fame with creative purity.

I see Full of Secrets as a direct follow up/culmination, with Twin Peaks Black Lodge as the place of descent. Like doppleganger “bad” Agent Cooper catches and replaces the good Cooper at the end of the synch/video, so Barrett loses the battle with sanity at the end, mirrored in the strange structure of “Jugband Blues” from the Saucerful of Secrets album. The center of Full of Secrets, however, is the superb title song from this 2nd Floyd album, the followup to Piper but with limited Barrett input. Again we do not start at track 1 for the synch, but 4 in this case (Corp. Clegg), and also skip track 6, See Saw, to reach the end of the synch and the album and the tv series.

See what you think. Keep in mind again this is a rip from a VHS Tape and also any editing is done the old fashion analog way.

You should be able to see both synchs in full using “previews” with this link:

https://www.dropbox.com/sh/m7bmp31zy42ozwl/AACNj8gBlbnH83_YTQu8UETXa?dl=0

Let me know if these don’t work for anyone and I’ll attempt another route.

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Filed under Carrcass Artists, Sink Floyd/Roger Pine Ridge, Twin Peaks

March 4, 2015 · 7:46 am

Carrcasses 04

From facebook again:

In tune with Karl’s “Simultaneity II” post presently just below this one, I’m going to throw out some ideas that may represent a replacement for a new podcast. However, unlike the 2007 podcast I think I can share some digital synchs this go around, and if so that makes the prospect more attractive. Various people seem drawn to the idea of my “tiling” so I’ll have a go at that again.

Resonance is so important. I was reading up today a bit on Randy T.’s theories about setting up synchs…

http://viralmediaart.blogspot.com/…/viral-media-art-what-is…

Randy synchs the famous Sing’n in the Rain sequence with Billy Idol’s Dancing with Myself. He calls it a 1 Drop Synch, “in other words, like “The Dark Side of Oz” it has only one start point and runs the continuous length of the piece.”

In my terminology, when I talk seriously about synching every once in a while, this can be called a tile, with one cue point — the one degree of manipulation (cuing music with video) that creates or reveals the synchronicity. One can call this a tile because it can be fitted into a larger concept composed of several or even many such cued regions. For example, I’ve also created a tile using Gene Kelly’s dance in the rain, a “1 Drop Synch” (drop… rain… good one Randy!). The track is ELO’s Stand’n in the Rain, and I found it about a year and a 1/2 ago after some experimentation with the Sing’n in the Rain movie as a whole down through the years now. It’s one that I knew would work even before I mashed them together in reality. It’s also a tile in the relative middle of a larger work of tiles — central in several ways.

Randy also talks about centerpoints in discussing his Sing’n in the Rain synch: “Like most of my syncs I have what I call a center point and my ultimate goal is to edit the video or music as little as possible. I look for a major “wow moment” where both mediums connect into something more than just a random moment of coincidence and line them up in my video and backtrack from there. In the case of what I call “Dancing In The Rain” the center point comes near the beginning just as Gene opens his arms in that big Ta-da moment and as Billy Idol’s song hits the 1st title chorus… “Dancing With Myself.” A true 1-drop sync, no editing just that one start point, wind it up and watch it go!”

I believe this is a natural way to cue up these 1 Drop Synchs or straight synchs as Karl may call them. These natural cues can come at the beginning, the end, or anywhere in-between in the tile or “cued region”.

So let me go back to DSotR (aka Dark Side of Oz) since that’s the one people will be familiar with. The standard cue for this most popular of all a/v synchronicities is the 3rd roar of MGM mascot Leo the Lion. However, to me if we look at it closer we have a nifty internal cue (this is what I’d call a “”wow moment” to use Randy’s word turn) where the bike riding Gulch appears right as the cacophony of bells begin in the DSotM track “Time”. If DSotR was crafted on purpose, this seems like the primary cuing point.

So is Leo’s 3rd lion roar just a kind of random element that someone traced back to or backtracks from Gulch-Bells to properly align DSotM with TWoO? This appears *not to be the case*, and that’s where we can pass from conscious creation by the syncher (or possibly the musician or group of musicians who consciously created the synch, if you’re using that angle) into something else. Logically a tile does not have 2 natural cues or 2 degrees of manipulation. It has one: “1 drop”.

From here we can go into the differences between synchronicity and synchronization.To me, tiling is still synchronicity through and through. Each tile is a “1 Drop”, but also linked to others to create a kind of *rain* of drops. There — I figured out where *that* was going.

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