Category Archives: carrcasses

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 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:


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…


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!

Leave a comment

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


“Carr., last night yet another Uncle Meatwad resonance surfaced in Fringe — and the wife and I were thinking about it at the same time (!).”


Yes I heard. Do not do another interview unless Uncle Meatwad is out there for others to view. Your choice. Karl is playing it cautious. Understandable. Either keep it to yourself for now or allow “out there” for others to view as a whole. Don’t just put the pressure on[ delete name].


Yes, I think I’ll tell Karl that tonight. But you see how…


But you see how important it is to get UM out there. It should live. It is the last of the positive carrcasses and also the first of the negative carrcasses. It is both. It is neither. Last… first. I am Olive.


And you still love Peter.




The oval or *olive* shaped theatre might be the only Collagesity building totally enclosed within the new skywalk from an overhead view. And it’s brown, matching the color of the skywalk’s connectors. But the theatre from this view might also be said to just touch it (“kiss” it) to the northeast. The Path of the Red Flower has now been closed off by the back of the theatre. The structure, still unnamed (the Meat Dome?), likewise touches the World of Collages building to the northwest, and also comes within 2 or 3 feet of the Sink Lair, again to the northeast.


Actually as I’m looking inside, I’m reminded that one set of stairs from the former path still lies directly against the north wall of the theatre, with a red flower at the top and another one near its bottom, at the back door…



… and then another one is found right at the front door as well.


Looks like this might be, then, The Theatre of The Red Flower, or probably Red Flower Theatre or just The Red Flower.

The complementary walk to the Red Flower on the south side of Central Stream has likewise been decommissioned through placement of new structures Gallery Jack and Wappo Jack’s Castle there. This would be the former Red Shroom Trail.

Tough but necessary losses both.


3:30AM update:

Been playing around with programs that convert VOB files to MPGs. I’m pretty sure I can create a viewable MPG of Uncle Meatwad to play as a dropbox link, which means it probably will also play on a prim in Second Life. I believe I’m not even going to try to upload the resulting MPG to Vimeo or especially Youtube because of the involved copyright violations. It is a time capsule. But I’ll still allow people to view it through this blog I think — and in Second Life. The Red Flower Theatre is about to, UM, flower(!).

Then I want to do a detailed analysis of UM, just like I create for my collages.

Also I have to get my new computer hooked up again. Been using my older Dell formerly in the basement for about a week and a 1/2 now because the new one wouldn’t boot up correctly. We’ll try out some possible solutions in the next several days. Else I’ll have to take it in to the campus computer lab to let them look at it.

Leave a comment

Filed under **VIRTUAL, Carrcass-00, Heterocera^^, Rubi^

Carr. Talk Again


Wappo Jack was my fiend. Friend. My friend.

Baker B.:

Well, that’s a pretty impressive castle he has there. Takes up a considerable amount of my prims.

Carr. (correcting?):

*My* prims.

Baker B.:

You are ruler of this town. Correct?


Corr. ect.

Baker B.:

What’s your relationship with Wappo Jack?


Friend. Played tennis together. Swam in creek. Leeches. Jack picked them off of me. Friend.

Baker B.:

That’s nice[ I suppose].



Baker B.:

And what about Jesus of N. and Piet Mond.


Less friends. More fiends. Jack and I battle. He built his castle to control battles. Grays verses Browns. Slaughter. Then Olive Branch. I be here[ in this diner/museum].

Baker B.:

Are you jealous of Jack for having such a big place?


Palace. (pause)

Baker B.:

Then you are jealous?


No. We live together. Married.

Baker B.:

Err, with Jack?


Yes. (Carrcassonnee attempts a smile)

Baker B.:

Well, that’s wonderful. And you’re…


Yes [we are still married]. (pause) Jack invented Newton and Jasper. You can say they are our children. Hi mom. Hi dad. And so on.

Baker B.:

Is [Jesus of N. your child]?

Carr. (quickly):


Baker B.:

And I [suppose Piet Mond isn’t your child either].

Carr. (again anticipating Baker B.’s question):

No. (pause)

Baker B.:

Carrcassonnee, I attempted to set up a movie theatre in the formerly empty central building of the Crystal Fields. But there isn’t too much to these fields now that more buildings have been inserted.


I wish to see Uncle Meatwad. Show Uncle Meatwad.

Baker B.:

Yes that was my intention. But the file wouldn’t play.


Try harder. Uncle Meatwad.

Baker B.:

Okay I’ll try it again soon.


Tomorrow. I hear you are interviewing Karl Song. He will not enjoy the blog. He thinks you are mad. I am [instead] the mad one (Carr. attempts another smile here).

Baker B.:

This is our second attempt. I’m going to give him a lot of rope this time. I screwed up the last one.


I heard. Sing him a song to soothe. He likes tunes. He is a tale tune spinner too[ like Collagesity resident Joe the Guitarist].

Baker B.:

Quite a mouthful.


I talk to you because you work hard and play harder. I attempt drink. I see double. I see song and tune together. Strummer. Joe. Rock on. Rock the[ Casbah?]. (I believe Carr. attempts to even sing a bit here).

Baker B. (after Carr. finishes “singing”):

Very nice. So we know for sure that’s Wappo Jack’s castle, and maybe his gallery, since it’s Gallery Jack. But it wasn’t named for him originally. Instead it’s…


Don’t say it. Seven eleven.

Baker B.:

Time to go?



Afterwards, Baker Bloch watches a short animation in the theatre. He’s getting there(!).

Leave a comment

Filed under **VIRTUAL, Carrcass-00, Heterocera^^, Rubi^

Beware (The) Heelers


“Beware The Heelers”

“Beware Heelers”

Leave a comment

Filed under collages 2d, SID's 1st Oz

SID Notes 01

“Return to Oz” movie script.

Return to Oz *movie* video:

Wheeler, MT:

Near New Deal (same as Square Deal?), Wilson…

Explore idea of Doc Worley as Norris figure. Parallels George Norris, father of TVA, a part of the New *Deal* which provided electricity. Worley switches on lamp as he states it is a *new* century, a century of *electricity.*



Proximity of Gump, PA (only US Gump) to Waynesburg and Rogersville could imply *MASH*up (Wayne Rogers a star of MASH series), perhaps the SID’s 1st Oz mashup synchronicity. This is logical given other synchy thing about Greene County here, including personal family member’s names listed (father, sister, brother at least).

Oz’s Gump is itself a mashup:

Prior to the events of the [Return to Oz] film, he was just an ordinary Gump walking through the woods until he heard a loud noise (presumably from a gunshot) and died. His head was mounted in the tower attic in the Emerald City’s palace. Sometime later, when the magical Land of Oz was taken over by the Nome King and Mombi, who turned it to ruin. Eventually Dorothy Gale (accompanied by her chicken Billina) returned to Oz and met Tik-Tok the mechanical copper man. When Dorothy was taken captive by Mombi and locked in her tower, under her imprisonment she met Jack Pumpkinhead who helped the little party make an attempt to escape. Together they devised a plan to escape the Emerald City; this involved using Mombi’s Powder of Life to bring to life the old Gump head in the tower and attaching it to a sofa with palm leafs for wings to fly them out. Mombi became aware of their plot and tried to stop them, but despite some complications they finished and brought to life the flying Gump sofa and all escaped out the tower window. They flew across the night sky and the Gump began to tell the story of what happened to him and how surprised he was to find himself in such an odd situation, although he was still willing to aid the group in their escape. Later he remained a mounted head and was placed in Princess Ozma’s mirrored palace. (Return to Oz)

The Gump itself is green(e).


Gump probably also represents Forrest Gump, part of the huge 1Pink mashup also profusely coded into Pennsylvania locations, including a prominent one in Greene County, once more (again involving a family member’s name — more doubling or multiplying of roles).

Return to Oz and mind control:

Leave a comment

Filed under SID's 1st Oz

By Neptune 01

Sign for Neptune. Mirrors the Trident streams in extreme western Frank Park, and also Herman and Frank Parks taken together. But Neptune is unseen by the remainder…



… until Gene Fade reaches fabled Red Head and builds a dwelling place on the “northern” shore and calls it Neptune (or North Star). All that was unseen becomes seen with (one of his biographies), entitled “By Neptune’s Beard!”. Neptune becomes the outermost planet of our Solar System starting in 1846. It is the only one that cannot be C-een by the naked eye. It becomes a symbol of the darke night sky, then. Carrcassonnee.

Beyond the planets and into the darke night: stars. All revolves around North.


North Star was platted in 1852[6] along the road between Greenville and Celina, approximately midway between the two cities. Its name was derived from its location on the edge of the Great Black Swamp, as it was the northernmost point in Darke County that was not wetland.[7]

The Great Black Swamp is The Abyss, the static nothingness of the Universe all around us and through us and into us. Only TILE saves. TILE is the effect of the C-een planets on the nothingness. Tennessee.

But then, beyond TILE is Still(water) and beams of light.

And I borrowed the page
From a leopard’s cage
And I prowled in the evening sun’s glaze
Her head lifted high to the light in the sky
The opening dawn on her face…

Charles Ives” “The Cage” with lyrics.

Annie Oakley is from North Star.

Annie Oakley (August 13, 1860 – November 3, 1926), born Phoebe Ann Mosey, was an American sharpshooter and exhibition shooter. Oakley’s “amazing talent”[1] led to a starring role in Buffalo Bill’s Wild West show. Her timely rise to fame[2] allowed her to become one of the first American women to be a “superstar“.

“By Neptune’s Beard!”

Great Black Swamp:


In the 1850s the states began an organized attempt to drain the swamp for agricultural use and ease of travel. Various projects were undertaken over a 40-year period. Local resident James B. Hill, living in Bowling Green, Ohio, in the mid-19th century, made the quick drainage of the Black Swamp possible with his invention of the Buckeye Traction Ditcher.[6] Hill’s ditching machine laid drainage tiles at a record pace. The area was largely settled over the next three decades. The development of railroads and a local drainage tile industry are thought to have contributed greatly to drainage and settlement (Kaatz, 1955).

Leave a comment

Filed under Indiana, MAPS, Ohio, SID's 1st Oz

Confessions of a Rainbowologist 07

bb: Hucka? LINK.


Neo-classic Pythagoreans tire of keeping track of all the branchings of TILE. “See?” they point out. “This is what you get with extensions. You get refractions. Just like in the picture from that album. What is it: Passion Play?” “No,” I reply, and exhale deeply. But they’re right about the branchings. TILE and Tyle. Special and Mundane. Board oriented verses Waterfall oriented. There are as many parts of TILE as there are colors of the rainbow. And that’s the point, I believe. A spread out point, true, but a point if you look at it from a long enough distance still. We must step back, way back. Further back than that, even. Further. There. We’re at the point of analysis. Let’s begin again.

TILE is born in Dark Side of the Rainbow. This is the belief of a fundamental Rainbowologist. I might believe this too. This is my confession. I am a Rainbowologist and I believe TILE truly begins in Dark Side (of the Rainbow). That’s it drawing way back and taking a look-see. There, that wasn’t so hard.



We are now able to look at more meaningful details. Where exactly does it start, this TILE and Dark Side fusion? One can say it begins when Dorothy falls into the pigpen at her farm exactly 4 minutes into both the synch and the album.


Why there? That’s when we separate from all those crocogator Neo-Pythagoreans and their haughty ways. That’s where we exit the corrupt Realm of Numbers and enter the purer Realm of Letters. We learn that Kansas is pure and uncorrupted at 5 and 8, or “I” and “E”. We learn that Oz is singly corrupted, missing only one letter from its own “T” and “L”. We’ve learned so much from a merger of TILE and Dark Side. And we must follow this single corruption further. Where does the missing letter of TILE go? What is the missing letter?

This one is easy easier to understand. According to Baum biographers, the creator of Oz got the name from a filing cabinet drawer labelled O-Z. This would be the same as the final 12 letters of the Roman Modern alphabet, out of 26 total of course. Split down the middle, this alphabet would contain 13 letters on each side, or A-M and then N-Z. But here we have O-Z for the second half of TILE within Dark Side. The missing letter is obviously *N*. Oz uncorrupted might then be actually called Noz. We don’t know. And then the second part of our present conundrum: where does the letter go if it exits TILE? Well, it goes into that filthy Realm of Numbers, that’s where. Hidden and further corrupted.

We even know what this missing piece truly stands for within the Baum mythology. It is the same as Ozma, true ruler of Oz as we find out in books beyond Baum’s original one, The Wonderful Wizard of Oz (basis for the first movie). Here’s the story from the mythology:

While still an infant, Ozma, the baby daughter of the former King Pastoria of Oz, was given to the witch Mombi of the North by the Wizard of Oz. Mombi transformed Ozma into a boy and called him “Tip” (short for Tippetarius) in order to prevent the rightful ruler of Oz from ascending to the throne. Thus, Ozma spent her entire childhood with Mombi in the form of the boy Tip, and had no memory of ever having been a girl. During this time, Tip had managed to create Jack Pumpkinhead who was brought to life by Mombi’s Powder of Life. In The Marvelous Land of Oz, Glinda the Good Sorceress discovered what had happened and forced Mombi to turn Tip back into Ozma; ever since then, the Princess has possessed the Throne of Oz (although many realms within Oz remained unaware of her authority).


In SID’s 1st Oz and the parallel Return to Oz movie, Ozma is returned to her rightful place as Ruler of Oz. She is De Queen. TILE is thus fulfilled, like Oz is fulfilled at this place in time. SID’s 1st Oz becomes a complete TILE. But wait… not quite. Because we have that troublesome kink at approximately the 3/4th point in the synch.


No, not that Kink. Instead it comes at “Dark Globe” by Syd Barrett. He’s tatooed his brain all the way by now. Dorothy is Helen Keller blinded about how to proceed. She must find Scarecrow and the other Oz characters who have been turned into ornaments. But how?? At the end of Dark Globe, all’s she can do is close her eyes and spin around and around and wait to stop.


Leave a comment

Filed under SID's 1st Oz