Category Archives: COLLAGES

April 17, 2018 · 8:23 am

couched

In a pot haze, Marion Harding waits patiently for the show to begin. He loves Elvis impersonators. Hucka Doobie tries to join him but finds she can’t.

—–

“Time to pull her out of that sluggish place,” Baker Bloch speaks about Gaston to Baker Blinker from their usual perch at the Perch restaurant. “Function’s basically used up anyway.”

“There’s the couch, still,” counters the female Baker. “Jeffrie Phillips — white star.”

“I can’t even find it tonight it’s so laggy. And I dare not log in Wheeler to help. My computer will crash, I’m sure of it.”

“Sugar house,” Baker Blinker then says. “Sugar’s House.”

“Alright I’ll give it another shot.”

“Give one to Marion as well.”

—–

“She does strike a good pose there,” Baker Bloch says, looking on remotely. “She seems… confident.”

“Put her with Marion. See what happens. Minimize windows as needed.”

—–

“It’s no use, Baker Blinker. Hucka Doobie just appears gray, like she’s in David Bowie’s shiny spacesuit from ‘The Man Who Fell To Earth.'”

“Precisely.”

—–

“Oops. There she is.”

“Have him walk. Have them talk. Plop Marion down in the plastic seat in front of Hucka Doobie. See what goes down.

—–

She’s wondering how much money is in that attache case, Baker Bloch. $50,000 lindens? Enough to get her out of this hazy, laggy place? Could be.”

“But how to strike up a conversation?

—–

“Too late: looks like the show’s starting.

“And that’s *not* Elvis.”

—–

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February 6, 2018 · 7:53 am

beginning

—–

“Well, okay we’re still waiting for Hucka Doobie to show up. Let’s just read some of Baker Bloch’s — Baker *B*’s writing at the time.” Wheeler Wilson starts reading from the screen. “‘Continue to view Pumpkin Twisters at least once a day, usually twice a day.’ — this was before you adopted the compound word title, hmm –.”

“I guess so,” Baker Bloch replies from across The Table. “My user, you mean.”

“‘Very addictive,'” she continues quoting, “‘but this is the pattern for all my synchs. After a week or three, I’ll get tired of this constant viewing and move on to another project. But right now I’m still dominated by PT’. Um… ‘Keep thinking about how I can continue to further the field, new movies to try, new albums, new techniques and tricks of tiling a synch, theorizing about the process of tiling itself and expansion into other hypothetical synchy arts.’ So that’s the beginning, Baker… guys. Should I just spot-read more ‘Pumpkintwisters’ related stuff in ‘Apple’, Baker?”

“Sure.”

“Let’s see, then just down the page: ‘The only synch where 2 movies, not 1, is used, is Pumpkin Twisters, definitely a unique quality for it. This actually also occurs in Kansas City Life, a direct predecessor of sorts for PT, but I consider this earlier synch to be a more minor work than all others listed here.'” She looks over at Baker Bloch. “Do you want to explain ‘Kansas City Life’ to the group, then?”

“Not really… go on…”

“Okay.” Wheeler Wilson scrolls down. “Lot’s of stuff about *other* synchs here…” She continues to scroll. “All right: ‘I’ve talked quite a bit about the structure of my finds so far, but one could go much further in this. I’ve only talked about it in terms of tiles and tiling. It would be interesting, for example, to study the perceived *centers* of synchs. For Pumpkin Twisters, to give an example, the obvious center is the selection from the secondary movie 200 Motels, overlapped with 2 tracks from the Kinks’ Preservation Act 2, and this is also the place where the synch is most obviously [quote unquote] “synchy”, or, in other words, there is an obvious match or synchronization going on here. The center of Billfork is the ark scenes and the aforementioned — in the last post — heavy *video* editing in this center…'” Here Wheeler Wilson stops and turns away from the media feed. “Ahh, I think we’ve read enough of your old writing, Baker Bloch. Time for the new. Are you ready Tin S. Man?” She takes her customary seat at The Table.

“Ready, Wheeler Wilson,” the gentle giant replies. He has become his much larger self since returning to Collagesity from Gaeta V. Glad he was about leaving that bland land. But Wheeler insisted mistress Tronesisia had to remain behind. Soon enough they would reunite, he knew. Very soon.

“We’ll give Hucka Doobie about 5 minutes more, then.”

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January 12, 2018 · 7:55 am

Studying up

Actor Tom Casey visits The Twin Peaks Laboratory — which also happens to be located on the Gaeta V continent — for inspiration and education. After all, his character of Casey One Hole within the ongoing “Collagesity Winter 2017-2018” graphic novel is largely based upon the Bad Coop figure of the show played marvelously by Kyle McLachlan. The same Real Life actor plays two other Coops… but that’s a long story to go into. I highly recommend for anyone who loves progressive television/film to watch the original 2 season run of “Twin Peaks” from the early 90s, and then the just released “season 3” coming 25 years later (“Twin Peaks: The Return”). Taken as a whole, the 18 episodes of the new season form a kind of giant or hyper movie, but, as the wife and I have learned, you really need to read the attached 2 books written by TP co-creator Mark Frost to make sense of it all (“The Secret History of Twin Peaks” and “Twin Peaks: The Final Dossier”). However, if you choose this “total experience” path, be sure to do the following: read “The Secret History” first, then watch “The Return”, then read “The Final Dossier” (which I just finished about a month ago). This on top of experiencing the first two seasons and attached “Fire Walk with Me” film. I’ll let interested parties look up details online having laid out this general milieu.

I am personally inclined to regard “Twin Peaks: The Return” as director/writer David Lynch’s singular masterpiece, the culmination of a long career starting, in the broader public eye, with the breakthrough movie “Eraserhead” from 1977. But his last two films proper, “Mulholland Drive” and “INLAND EMPIRE”, are also very very good as well. Lynch, again to me, seems to just get better with age and experience.

More snapshots from Tom Casey’s visit:


Another Venus marble.


David Lynch’s character Gordon Cole and David Bowie’s Phillip Jeffries.


Another Coop from “The Return” (Dougie Jone).


“Howdy David!”


The Bob who lives within.


Bad Coop, aka Mr. C aka Doppleganger Dale. “*There’s* my inspiration,” Tom Casey exclaims upon seeing him.


Casey stares at a “Return” shooting location shared with “Mulholland Drive”.


The original Coop: FBI agent Dale Cooper. “My archenemy.”


“Take that: WOP!”


“I think it’s a pretty good museum. How about you guys?”


“Guys?”


“Piece of that famous cherry pie, Shelley. And one of those damn fine cups of coffee.”

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January 8, 2018 · 4:24 pm

plans

Heidi Hunt Ives read to him from their user’s Big Book of Synchronicity Interviews:

So how about “Foreign One” or “4orrin1”, then? To me, it naturally follows that “4orrin1” must be defined as something beyond a silver or gold tiling, and I chose the highly valuable metal platinum to name the process. “Head Trip”, although simpler, actually acts as the first true platinum synch that I concocted. It’s very simple, really: “HT” is two basically complete golden tilings woven together — tiles switched on and off between the two — to create something beyond each. In other words, it’s the tiling of 2 equivalent full movies mashed together in a back and forth manner. Back to your question then, Karl, “4orrin1” is kind of 4 gold tilings synched together, yes. But – – this is also very important — platinum tilings can contain not only a multitude of equivalent gold tilings within but also *silver* tilings. And to this, at the center of both “Head Trip” and “4orrin1” — and also “Billfork” — is one particular album apiece by the esteemed comedy group Firesign Theatre, dubbed the Beatles of Comedy at one point. Basically Pink Floyd handed off to Firesign Theatre in “Billfork”, which contains music and equivalent albums from both.

She closed the book and laid it back down on the Great Table. “This is why The Bill are so important to Piera because The Bill are Firesign Theatre, Man. Tin S. Man.”

“But we can’t talk about ‘4orrin1,'” he replied. “Nor ‘Head Trip’. Our user has tried that… and failed (SEE: ‘Paradox II: The Chancelling’).”

“We can limit ourselves to ‘Pumpkintwisters’, though. Tossing out the weak ‘Kansas City Life’, (it’s) the first synch combining 2 movie into 1, the first example of platinum in that way. The great 2-n-1. And that’s why we have brought you to Capitol City and put you up at a cheap but clean rental in the northeast part of the burg I found the other day by accident. Because inside you is lead Kinks Ray Davies, their main man by a, er, long shot. But he doesn’t have a big head about it, hehe. You know and freely admit that now.

“Yes. Interesting collage by the way.”


Gila 01

“The problem becomes: Who plays Zappa? If we extended our discussions to ‘Head Trip’ — which we won’t — *I* could play lead Monkees singer Davy Jones, since that’s *my* name.” He of course is featured in ‘Head’, the pop group’s trippy dippy hippy movie from the late 60s.”

“You as David Bowie, you mean. David Bowie’s given name was David Jones, which he changed because of the presence during his rise to fame of the already very famous Monkees singer.”

“Right. He did. *I* did.”


Boos 07

“And ‘Trip’?”

Heidi paused. “Zappa’s realm too, and a bigger one… but we cannot move into that dialog any deeper. We talk about ‘Pumpkintwisters’ and that is that. You fit in strongly there as the centre, Tin S. Man. Also ‘4orrin1’, but that’s even further away from the light, beyond ‘Head Trip’ even…”

“More complexity. Complexity stacked atop complexity.”

“It is the ultimate synch in ways, that and the parallel ‘1 Pink’, but it remains in pieces inside an shallow grave not of one peace. The whole must be collaged together still to (properly) fill the hole.” She paused, scratched her nose. “Yes, we will return to the Blue Feather for ‘Pumpkintwister’ discussion. I will work on the Zappa issue.” Heidi pulls out a pocket calendar. “How’s Friday the 26th for you? Sorry again about the location change. I didn’t realize that the intercontinental interwebs cables hadn’t been stretched between Corsica and Gaeta V yet. We remain in the Dark Ages here.”

“‘Tis Alright,” Tin S Man replies. “I’ve had enough of Capitol City and its bland and boorish manners anyway. Tronesisia… aww rats!!” He recoils from Heidi, unable to backtrack the slip.

“Tronesisia?? Did you say Tronesisia?? What’s Tronesisia got to do with this?” She gasps.

“You’re not *together* with Tronesisia are you? Du warst nicht mit ihr auf eine familiäre Art zusammen?”

Tin S. Man hung his head low. “Ja.”

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February 11, 2017 · 8:39 am

Table Meeting 02

For Table Meeting No. 2, Baker Bloch arrived at the Blue Feather in his self named Spookmobile, almost running over Old Mabel and Hucka Doobie while humming down Old Cannon Road from his attic home in the western part of town. Baker apologized to the two while they were walking up behind him, nerves rattled.

snapshot8747_003b

“You know it’s only about 100 yards from your place to the Blue Feather,” says Hucka Doobie, still dusting herself off from diving behind Major Stone to avoid being hit. “You don’t really need to drive. What is that thing anyway? Where’d you get it?”

Baker Bloch realized Hucka Doobie wasn’t inworld all that much and hadn’t caught up with the news. So he caught her up.

“Fascinating,” says Hucka Doobie afterwards. Anson and Anton. Yet another one. *Must* be the work of Mid Hazel.”

“And we further speculate that Wheeler is trapped on New Island now, unable to escape. I’d take you there to see the broken bridge but the meeting’s starting up in a moment.”

“Without Wheeler?” Hucka Doobie scratches her bee head in confusion.

“I’m taking Wheeler’s place,” Baker declared. “Let’s head inside and get this thing started.”

“Cool, I suppose,” says Hucka Doobie, still a bit in the dark on things. Old Mabel remained silent, not liking where this was, er, heading.

snapshot8747_008b

—–

snapshot8747_012b

“As most of you know,” Baker began, “Wheeler’s wishes were to move forward instead of backwards. Toward ‘Pumpkintwisters’ and the future instead of ‘Billfork’ and its Northfork and Billville in the past. *But*… Wheeler isn’t here.”

Old Mabel suddenly perked up. Could it be? Could it be?

“So we’re going to talk about ‘Billfork’ tonight.”

Old Mabel actually jumped out of her chair a bit in joy. She had been preparing to discuss ‘Billfork’ for weeks now, listening to all the pertinent John Lennon solo efforts and reading up about the Ono debacle and so forth.

“Now I’m sorry Tin S. Man. I know this was your time to shine.”

“‘T’is okay, Baker Bloch. The Ray Davies inside of me can wait. I am sympathetic to the plight of Northfork and Billville both. Both flooded, both moved. A moving tale each.” He smiled.

“Yes,” agreed Baker. “So since we’re backing up from ‘3 Friends of Belleville’ instead of going forward, we can point out that *Belle*ville camed from *Bill*ville — and also visa versa since time really doesn’t exist. This is part of the overarching complexity of the Piera. Old Mabel, do you want to help me out and pull up some pertinent videos on the interwebs? Try ‘Northfork + Polish’.”

“Sure thing, Wilson.” Everyone stared at her. “I mean, Baker Bloch, tee hee. Slip of the tongue.” She went over to the suave chair she had sat in so many times now and did the appropriate search.

“So what is ‘Billfork’ you might be asking?” then said Baker Bloch. “Well, on the audio side it’s primarily ‘Boom Dot Bust’ by Firesign Theatre. On the video side it’s the movie ‘Northfork’ by the Polish twins, Michael and Mark. As Tin S. Man alluded to, both feature towns that have to be moved in order to be saved. The town of Northfork is being flooded by a new lake. Billville is threatened by tornadoes, and also, strangely and syncily, a flood at the end, where the mayor has to turn into a fish and ‘swim, swim, swim’ to stay alive. Tonight, to begin, we’re going to look at a number of clips from ‘Northfork’ which are available on the Youtubes. We’re just going to look at them as they appear in Old Mabel’s hit list here, and I’ll talk about the relationship with ‘Billfork’ afterwards — I don’t think we need to do them in order. So if you would just start at the top of your list, Old Mabel, and work down.”

snapshot8747_015b

“Yes *sir*”.

—–

2 1/2 hours later they had gone through innumerable Youtube videos featuring not only ‘Northfork’, but Firesign Theatre, Pink Floyd, and John Lennon and his Beetles. Even Old Mabel was getting a little tired. But they had learned a lot. They knew ‘Billfork’ contained some kind of code which Baker Bloch simply dubbed the Billfork Code during the meeting, having come up with that name several hours prior. Baker had passed out most of the 8 oranges Old Mabel dreamt about to participants at The Table this night, setting the remainder at empty seats while saying that each represented a whole track from ‘Boom Dot Bust’ used in ‘Billfork’. Old Mabel grasped hers tightly as Baker handed it to her, making sure she didn’t drop it this time (unlike in the dream). “Now I know we’re all tired,” Baker continued, “but we need to also talk about the 9th tonight. The 9th is ‘Doom Bot Dust’, the opposite of ‘Boom Dot Bust’. And that’s where we think the code comes from. A south by southwest direction.” Old Mabel nodded her head in agreement as she looked past Hucka Doobie in that direction.

snapshot8747_018

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February 10, 2017 · 8:28 am

Anton

snapshot8743_002

“So this is another one of your disguises Wheeler.”

“Yes. Baker Bloch,” she answered. “But call me Wilson (when I’m like this). Or Wheeler — whatever. So… you have information about Doreena.”

“She is called Doflia now,” states Keat Owens. “Reborn on January 15th of this year. She has Mad Max hair, (and) Apocalyptic Female top, shorts and boots.”

“She has turned into a monster,” Wheeler-as-Wilson speculates.

“Not really. Come to the map with me. “We can teleport through the pin.

—–

snapshot8743_017

“Not there,” states Keat Owens. “Let’s check Yvonnee.”

—–

snapshot8743_018

“Often right here, but it’s late in the night, almost dawn. To quote Billy Corgan: ‘They only come out at night.'”

“Close enough. Speaking of which,” says Wheeler. “I must begin preparing for the next Table meeting.”

“So you’re going with the forward Pumpkintwisters direction?” Wheeler nods. “Over the backwards Billfork direction?” Wheeler keeps nodding. Keat Owens reapplies one of his hands to his chin in a thoughtful manner. “There’s one more avatar we’re keeping an eye on, only known as Anton. I don’t have a direct landmark yet but he’s in Anson. Obviously another one named for their inhabiting sim. We’ll have to approximate (the landmark).”

—–

snapshot8743_029
Not what they were expecting.

snapshot8743_034

—–

Afterwards:

“Damn! Crashed again.”

snapshot8745_003

Just after that:

snapshot8745_004

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January 2, 2017 · 4:05 pm

No stopping now.

Baker walks out of that mysteriously appearing door in the Blue Feather again from the Table Room and notices another opening he hasn’t paid much attention to, down through the years now: the double iron gates into the property of his never seen neighbor Clarity Dagostino. The two neglected openings become linked in his brain. No stopping now, I suppose.

snapshot8533_014

Just after that, he goes back into the Blue Feather to find what he originally thought was *another* “intruding” avatar like the one encountered the day before — get to that in a moment — but what turned out to be a mere 2-d flattie placed there by unknown hands.

snapshot8533_017

The flattie holds a guitar with the name Mykall Skall scrawled on it. I quickly discovered this was the fellow who founded the Virtual Hotel Chelsea (or Virtual Chelsea Hotel), located in a sprawling Heterocera continent municipality I simply call VHC Town in this blog after its dominating, centerpiece structure. This could be significant for several reasons. But what next caught my eye was the t-shirt the flattie was wearing: it’s obviously suppose to double as the one John Lennon famously posed in during a promotional shoot for his “Walls and Bridges” album. And then the flattie’s army jacket is also a Lennon inspired garb.

snapshot8533_019

lennon01

lennon02

Back to the intruder from the day before. Baker Bloch had decided to open up the formerly banned property of the Blue Feather so that visitors could take a look around the recently upgrade Table Room and its mysterious door (etc.) if they wished. Very soon after that, Baker found a male avatar appearing by his side as he positioned a representation of the 4 Beatles walking Abbey Road on the wall of the room, just at the top of its stairs. Seeing only a naked (male) human torso for the avatar’s profile picture, Baker decides to quickly delete the Beatles cutout and temporarily log out of Second Life. 10 minutes later he returned, with no avatar in sight. He quickly reinstated the ban on the property. He didn’t return the Beatles to the wall — until the second intruder showed up the next day. Because, of course, both involved *Lennon* now. And Lennon was and is a major player at The Table itself, projected to sit there under the guise of Salad Bar Jack LINK.

snapshot8533_025

I must be forthcoming here to fully explain the oddness of the juxtaposition. Through Baker Bloch, I actually *did* rezz the Mykall Skall flattie in that corner of the Blue Feather but it was a spontaneous action on my part. I didn’t know the flattie would be projecting a strong image of Lennon. And I didn’t make the avatar from the day before show up just as I was positioning Lennon and the rest of the Beatles on the wall just up the stairs from him. I was merely rezzing stuff spontaneously here and there, going through my inventory. It was, as one could say, an *accidental* juxtaposition. But we know in the Blue Feather that such accidents are too frequent to be called chance. This is synchronicity again.

snapshot8533_026

I’m going to perhaps shock the reader by stating that I believe Lennon himself (or an official representative thereof) wanted to make his presence known in the Blue Feather. He knows I’m working on The Table and he is to sit there. He is, broadly speaking, the gateway figure into (“Billfork”) and out of (“Uncle Meatwad”) my peak grouping of audiovisual synchronicities created during the Pierre Schaeffer era of 2004 through 2007. He knows this is important to protect and eventually disseminate. The organization goes beyond the Oz/Floyd Paradox.

I imagine Wheeler will be super pleased to find out about this turn of events when I next catch up with her.

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July 7, 2016 · 7:26 am

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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July 6, 2016 · 9:05 am

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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January 4, 2016 · 8:10 am

Year in Review

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

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

So let’s just break it down into categories:

Collages:

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

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

Audiovisual Synching:

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

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

Virtual Reality:

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

Art (Toy/Junk) Happenings:

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

Hiking/Exploring:

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

Sunklands Blog:

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

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