With all the going back and forth in time it’s always good to remember the present, the gift that keeps on giving.
Merry Christmas from all the toys at “Hello I Must Be Going” Aloha! (it’s still there!)
The Bogota series, The Arab ponders here, studying the collage section of the blog. Half series, half not, the complexity of the photo-novels weighing in again. Since Boos, collages have depended on its now enormous (ponderous?) storyline. That was 2015. This is 2022. A long time for collages to serve another master and not themselves as completed, self contained art works, or at least self contained art series. Bogota changed all that. Bogota never had its own gallery, although I tried to make a unified sense of the whole. Didn’t work, except, a bit, for inclusive series Bogota Proper, as I call it, and, more recently — in the last year and a 1/2 or so — Picturetown, another Canadian based series like Boos before it, notably enough. But even Picturetown was different: separate it from the attached photo-novel, 24 in a series of, presently, 32, and the meaning is severely diluted, maybe irreparably damaged. Yet I still do create individual collages here and there in the continuing process. This, I assume, will continue…
Looking back on it, audio-visual synchronicities, another kind of collage, go hand in hand with the 2d, more “regular” ones. What one might call the first true movie collage of the bunch, “Billfork” back in 2004, was created in the same year as the 1st 2d collage series in Greenup. Then, on the other side, Boos was created about the same time as the last audio-visual collages I made in 2015-2016.
Just moving down the blog headers to Reality — Reality, pheh, what a concept! — I’ve hiked almost every day since I retired March 1. I’ve included some RL photos in the blog recently, but I want to do more of that. It’s all going to a place where I concoct one of those woodsy art happenings again, like with Bigfoot-Chesterton also from 2015-2016, another of those seeming last-of-its-kind phenomenon. Truth is, I think that audio-visual synching will return, albeit in a very different and unexpected form. Collage series will continue, perhaps separating out from virtual reality again and relying more on themselves alone for meaning. Writing is very important, but art also will go on.
And I’ll probably try my hand at an actual novel sometime, sans pictures. The setting may very well be Oz.
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:
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.
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.
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.
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!
1st 27 or so minutes of what we eventually saw:
Afterwards we reconvened at Carrcassonnee’s gazebo to discuss the viewing. Spongeberg wanted to see the first part again to take notes, so Furry Karl and I walked around town some more. Carrcassonnee simply teleported back to her position in the gazebo. I knew it was ultra important that I correctly sell what I would consider the true status of “Uncle Meatwad”. To save the town. To save my reputation as an artist. So the questions began…
“I have made a short list of matches now,” began Spongeberg Resident. “What I saw was 15 minutes of what could be considered random pieces of music, dominated by John Lennon.”
“We call him Lemon here in virtual-land, Spongeberg,” I tried to joke.
“But I also know,” continued Spongeberg, “that this is all real in some way, some fashion… because of ‘Shiny Hare’.”
“Because of ‘Shiny Hare’, yes,” I reinforced. This was about our walk in Frank Park around the Bunny Trail. We talked of “Shiny Hare”. I convinced Spongeberg, his real life counterpart, about the legitimacy of “Shiny Hare”.
“This is an earlier work,” stated Spongeberg.
“Yes,” I said. “From 2007.”
“And it is a double itself.”
“Yes,” I said again. “Twin to [delete name]. I made “Uncle Meatwad” public for a brief period because [delete name] sits hidden behind it, protecting.”
“This is the tajitu,” chips in Furry Karl.
“Yes, I guess it is,” I said, “like the interview with the other Karl, Karl. The trapped Wheeler is [delete name]. The exposed white side of the tajitu is “Uncle Meatwad”. But in another way, “Uncle Meatwad” is trapped, like the Wheeler. Can you help me free him?”
Spongeberg jotted down some more notes. Carrcassonnee was staring at him with her one, big eye.
“Carrcassonnee,” I asked, “What is your opinion? How do I free “Uncle Meatwad” and save the village?”
“Me,” she answered simply.
Spongeberg then says the “Egypt” cue is where it starts to really kick in or “sync”, as he put it. He understood the magic, once more. “Shiny Hare” style magic. “And”, he said, “you work backwards from there to understand the first part. which mirrors the 3rd.”
“Yes,” I said.
“Then the middle part, the last one, is where it all goes down… the hole.”
“Absolutely.” Had I just saved Collagesity?
It was a busier night for Carrcassonnee. Spongeberg saw the telltale lemon burning in the bowl outside the gazebo on his way to examine Shiny Hare. He took advantage of the being’s presence. He still had some issues.
I, baker b., was not privy to the actual conversation, but I heard what happened second-hand through Furry Karl, who was also on his way to see the new town tower when he spied Spongeberg within the temple and sneaked around the back to listen. I immediately reprimanded him for doing so, but I was also oh so ever curious about what they talked about. So when Furry Karl spilled some of the beans, I made a cup of instant coffee in place of a real one. What could I do? I was the one actually in charge of the town, I felt. These were *my* creations. I of course didn’t tell Furry Karl this. I remembered how he used to just say “Merry Fucking Summer, have a beer”, and so on. Merry Fall, Merry Easter, Merry this and that. What changed? Does he have memory of those muter times? Anyway, to the spilled beans and improvised coffee making…
“Spongeberg still desires to kill the town,” says Karl to me as we enter the palm grove of Collagesity East. “The Hare statue didn’t change his mind.” We both look up. It was towering above us. “It’s a *tower*,” I want to say to Karl.
“I know the taijitu,” he then says, surprising me. “I know of Uncle Meatwad. Things have changed. I am not mute because I have shifted somewhat. Just now, actually. That memory just locked into place. Funny.”
I looked at Furry Karl. His *double* was *in* Uncle Meatwad. “Show me Uncle Meatwad”, he almost demanded. “We can go up to Collagesity to view it. Where the Church of the Red Door is.”
Spongeberg and Carrcassonnee talked about “Uncle Meatwad” most of the time, as it turned out. Me (Baker Bloch), Baker Blinker, Hucka Doobie, and Uncle Meatwad and Shakenstein and such.
“What happened?” Spongeberg asked cooly (says Karl). I imagined Carrcassonnee’s eye rolling upwards.
“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.
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.
Wappo Jack was my fiend. Friend. My friend.
Well, that’s a pretty impressive castle he has there. Takes up a considerable amount of my prims.
You are ruler of this town. Correct?
What’s your relationship with Wappo Jack?
Friend. Played tennis together. Swam in creek. Leeches. Jack picked them off of me. Friend.
That’s nice[ I suppose].
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].
Are you jealous of Jack for having such a big place?
Then you are jealous?
No. We live together. Married.
Err, with Jack?
Yes. (Carrcassonnee attempts a smile)
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.
Is [Jesus of N. your child]?
And I [suppose Piet Mond isn’t your child either].
Carr. (again anticipating Baker B.’s question):
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.
Yes that was my intention. But the file wouldn’t play.
Try harder. Uncle Meatwad.
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).
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].
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.
Time to go?
“Return to Oz” movie script.
Return to Oz *movie* video:
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: