Category Archives: COLLAGES

March 4, 2015 · 5:54 pm

Carrcasses 05

Facebook:

Merk Coolie Brighton posted in Film Album Synchronicities.

I’m not sure I want to create the “posts” here but now that I understand you can preview 15 minutes of *any* synchronicity that’s on a DVD through dropbox, I can explain “tiling” in a much more comprehensive and understandable manner. I’ll soon share a link with one of the four sections of SID’s 1st Oz for demonstration, probably part 2 of 4, and perhaps contrast it with the neighboring part 3 of 4. At this point I would call SID a “historic” synch, since it is over 12 years old. It didn’t have quite the impact I imagined when I first found it, and part of this is that I don’t think about half of the tiles in part 1 of 4 were properly aligned — made a bad 1st impression on some — and also because it came after the demise of the Film/Album Synchronicity Board and members of the synching community were starting to really drift away from each other… creatively at the least. Tape trading was becoming increasingly rare. Also I think people were getting a little tired of Floyd based synchronicities in any shape and form, and that would include me (kind of ironically). And on top of this, Return to Oz is not a classic classic movie, although I would consider it the truest follow-up to The Wizard of Oz that we have. Still in looking back and analyzing our golden age of synching, or the period of maybe 1999-2003, I see SID as my most original if misunderstood synchronicity contribution, along with The Rainbow Sphere, which I also want to talk about somewhere soon… probably sooner than SID. Both of these works were mentioned in my 2007 podcast. According to the front to back flow of the Oz/Floyd Paradox document (2003), SID is a kind of logical output of The Rainbow Sphere seed idea — the alpha and omega of the delineated paradox.

I’ll begin with The Rainbow Sphere asap. TRS presents us with the seeming conundrum that The Wizard of Oz *synchs with itself* and does not need “outside” help from Dark Side of the Moon. This also seems to mirror the original album/audio vs. movie/video tension, and the question about which claims the upper hand (silver vs. gold tiling in other places). Dark Side of the Rainbow is an album oriented synch. An e.t., say, armed with just the 1 play version of DSotR, would have to guess about the remainder of The Wizard of Oz movie while having complete knowledge of the album. The Rainbow Sphere is purely a movie synch, since no album of any kind is involved. The same e.t. watching this and deciphering it as 2 signals fused into 1, would be able to understand the movie in a considerably more complete manner than even just with the unmixed, full video, I feel, and also would need no prerequisite knowledge of DSotM.

Does any of this sound interesting to others? 🙂

The Rainbow Sphere concept is about 17-18 years old.

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Filed under SID's 1st Oz

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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Filed under Carrcass Artists

October 30, 2014 · 1:01 am

Carrcasses revealed 01

I hate to be an old fogie but I guess I am. I’m old school when it comes to audiovisual synchronicities. I like to watch them on the tellie with the speakers cranked loud. I do not yet have a home stereo system directly linking digital and analog sources together in an easy manner. Plus I’m stuck in some kind of no man’s land between synching and mashing, with no way to easily share my work. I’d like to reintroduce the idea of levels in synching sometime. No level of the 3 (I know) is worse or better than the others. Just level 3 is more complicated than level 2 and level 2 methods produce more complicated work than level 1. It is difficult for me to justify level 3 without examples, however. Each level builds one on top of the other in a logical manner. I’m about on the verge of sharing a synching work that at least starts to move from level 2 to level 3 for me called Billfork. This was over 10 years ago. I have not taped that one all the way through, but have the bits and pieces fixed, to collage together. The next large one I created, also almost 10 years old, is Head Trip, and this is moving much more into level 3 territory. That had limited exposure to what remained of the synching community at the time, but already we were far into the process of splitting apart after the Shared Fantasia peak. SF, by the way, is level 2 in my definition, but not a peak level 2. Stegokitty’s Darkest City is another example. My SID’s 1st Oz also represented a level 2 sync, and the most dead center example I know of. I would call Billfork, perhaps, an “aged” level 2 sync or synch.

My next large one after Head Trip — again we’re talking 9 1/2 years ago still — was a full level 3 project, a task I wasn’t really ready for at the time in retrospect. Whatever true creative connections with the community I had, they were broken by then. I was on my own. The thing is that after this huge work I went back to level 2 for the next project (spring 2006). But I never really went back to level 1. I would consider all levels audiovisual synchronicity, as each is built on a single cued region or collection of such. If you would like to know more about this I’ll be glad to share what I can. I might also be able to produce some more Head Trip DVDs soon… perhaps.

There was what we determined as a golden age of synching from about 1999-2003, when people as a group were moving beyond Dark Side of the Rainbow and Pink Floyd and exploring new synching ideas and crystallizing many new synchs. It was an exciting, blooming period. If you listen to Mike Johnston’s original set of synching podcasts created in 2007-2008 I believe, you can get a sense of Shared Fantasia’s central role in all this.

As I’ll always see Dark Side of the Rainbow and attached phenomena as the seed or even core of film/album synching I’ll always be a part of any synching community as it exists through time, larger or smaller. DSotR, traditional style, is level 1. It is the ur synchronicity. A very different type of synchronicity analysis can be created from matches within, and I don’t think that analysis is done by a long shot. A study called, let’s say, *rainbowology* could be created even now.

All levels I speak of are technically a mashup, even DSotR. But it’s especially in levels 2 and 3 where a distinction should be set up. I don’t consider myself a filmmaker, yet, ironically, it can be said I have made many films by now, a good number being feature length and sometime beyond. Synchronicity penetrates the levels top to bottom.

If anyone is interesting in all this I can write more about the subject. Thanks for your continued support of the film/album synching community. 🙂

I appreciate your continued ventures outside of the realm of the easily replicatable. It’s the same reason I love Zaireeka, which is predicated on the in-the-moment experience and the openness to randomness.

Thanks for the like and comment MA. I printed out my post here to read on a break. My thoughts are that level 2 and 3, without going into detail yet about them, are actually more replicatable in ways than level 1, which usually involves longer, sometimes much longer single cued regions, or what you probably remember I personally like to call “tiles”. On the other end, when you start breaking apart video and audio sources to smaller and smaller discreet parts, you also move more into mashup territory (art for art’s sake, in a way), although not necessarily. I’ve telescoped down to breaking apart or faceting, I suppose you could call it, a single song into 4 different cues for audio overlap, but that’s about it. Billfork contains an early example for this (perhaps the earliest in my stuff), and I may be able to youtube that particular section. It’s a funny one, because it involves a surreal tv show based on gluing impossible things together on the audio side, which should be “glued together” as one audio tile in the synchronicity. On the video side, we also have a kind of single narrative, but still nonlinear according to movie order. In other words, the video is broken down into 4 related but still chronologically separated parts according to movie order, and arranged to match a continuous audio track. Since the audio resonantly references gluing (or collaging, as it were) the combination of the 2 can be called archetypal in a manner, like it was meant to happen or appearing as such.
Randomness is another exploration of synchronicity that has much promise, however. And there’s the whole debate or potential debate over whether you can actually, successfully “fix” an audio and video source together in a single tile. Is the whole process random, one could ask, for example. I personally don’t think it is, but that doesn’t mean there can’t be multiple ways to create a single tile, or variations thereof. This can be traced back, in ways, to the different lion roar starts of Dark Side of the Rainbow. Ok, I really need to end my break. 🙂

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Filed under SID's 1st Oz

October 15, 2014 · 1:46 pm

More The Bill 02

Dam and lake in Northfork movie subconsciously influenced (consciously?) by Norfolk Lake (or Lake Norfolk) in Baxter County, Arkansas, which flooded a hamlet called *Hand*. Check here for original blog information on this location, and connection with a “hand map” of same county. Queer indeed. Hand connected to 4H of heart, head, hand, health, all locations or former locations in Arkanasas. Indeed, just below Baxter County lies Hand Valley, which has variant name of Head Valley, combining 2 of 4 4H aspects. The hand map’s index finger is pointing directly to this anomaly.

http://en.wikipedia.org/wiki/Norfork_Dam

Built on the North Fork River, Norfork Dam was one of the six largest concrete dams in the country at the time of its construction.

Clyde T. Ellis, who defeated Claude Fuller in 1938 to become the representative for the third district, envisioned a smaller Arkansas version of the Tennessee Valley Authority. Ellis made Norfork Dam his personal project and fought for it until construction began in the spring of 1941. Having won the election with the promise of cheap hydroelectricity, he hoped the dams would give rise to industry and lift the region out of the depths of depression.

The completion of the dam had an immediate effect; with freedom from the fear of floods many people began to reoccupy farms downstream of the dam. Ironically the areas most affected by seasonal flooding were those covered by the reservoir, and the dam had little effect on flooding of the White River. However, not everyone was happy with the construction of the dam, nearly four-hundred people had to be removed from one of the most heavily populated and prosperous regions of Baxter County to make room for the reservoir. The government only paid people for their land if they had structures on it. As a result many people did not get paid for their land when it was covered. In fact, one man who thought he had lake front property paid taxes on it until 2004 when he realized that his property was underwater (Andrewson).

http://files.usgwarchives.net/ar/baxter/cemeteries/hand.txt

The Hand Cemetery is located at Halls Chapel, 1/4 mile beyond Jordan
on the Jordan Landing road, which is Baxter County Road #64. The ACE
named it New Hand Cemtery in their files.

The Hand Cemetery is located along Hand Road in NW 1/4 Township 19 N.
R-11 W. This cemetery was extablished by the Army Corp of Engineers
during the construction of Lake Norfork Dam and contains burials from
the Kerley Cemetery, which contained 3 marked and 13 unmarked graves,
the Etheridge Cemetery which contained 8 marked graves and the
original Hand Cemetery, which contained 115 marked and 5 unmarked
graves.

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Filed under Arkansas, Carrcass+08, MAPS

October 14, 2014 · 2:00 pm

More The Bill

On Noseblood in Tile 10 (J), and also perhaps Mayor P’nisnose.

Noseville on Brownville topo map, NY?

Nosegay in Dickson Co TN (Bakerswork [Crow var], Dull)

Noser Mill, MO (at nose like bend of Bourbeuse)

—–

Also Blood here (bottom map):

https://bakerbloch.wordpress.com/2014/07/18/olivenew-post-02/

Blood (= present Bennington) there stands for kin, as in kinship between Edward(s) and Sam(sV.). Graysville obviously points this out. Black and Browns in same co. has connections to other map areas. Golden Gate? Bone Gap? Siegert?

—-

Tea (character)

Connect to Gerald and Chancellor in MO and sd respect. Then latter 2 connected to each other in AL.

Griffthsville conj. Happy, AR (Andy Griffith to Happy Days, specifically “Opie”)

In this White County, AR map looks like Happy lies direct west of Ellen. In Texas,Ellen is on *Happy Union* topo map, and 1 county down from Happy in Swisher County, which also contains Kress (see here on that connection). This points to gay marriage (swisher: derogatory term), and happy as synonym of gay.

http://en.wikipedia.org/wiki/Tea_strainer

See: Tea conj. Strain, MO above. In Northfork, character Tea is constantly seen *steeping* tea. The character becomes what he holds.

http://en.wikipedia.org/wiki/Tea_bag

Tea is obviously a gay character as well… flamboyant (like CKressley).

Only 1 Ursula in US, in Sebastian Co, AR (Ursula is name of waitress in tile 10). Already been connected to Ursula in Carrcass-8 through Doctor’s Creek just to its north.

But… Doctor’s Creek tributary above Ursula is called Doctor’s Fork, and a “Doctor Fork” is mentioned in Billf. (who will arrive soon with the antidote, or is it anecdote?). Doctor Fork is mentioned just as we see fishing lure behind sun visor in car (tile __). Also this looks like spoons, another utensil like forks. Fishing lure assoc. with Doctor Fork as creek or stream, perhaps. Doctor Fork may also then be assoc. with Dr. Who through Ursula. Of course Dr. Fork from audio is a link to North*fork* movie on the video side, akin to Bottom Feedlers (or Fiedlers) and Ursula’s mention of bottom feeders.

Ursula

Interesting:

http://af20cartoons.deviantart.com/art/OCC-Doctor-Fork-448121220

James Woods character has just stuck a fork in a piece of gray cake (signifying dam that will drown Northfork) before Dr. Fork and fishing gear are coupled in Billf. (same tile: ___).

Transcript of tile ___ from Billf. I’ve highlighted some keys phrases we have been talking about and will be talking about…

(Doorbell.) [this is how you cue tile]
Sue: Peggy. Peggy? Oh, Peggy!
Peggy: Oh, Sue.
Sue: You poor darling. I just heard.
Cecil: Hello, Peggy.
Peggy: Oh, hello, Cecil (pronounced with a short “e”).
Cecil: Hi, Eliot.
Sue: Is it- is it true?
Eliot: (talking over) Oh hello uh- Cecil (pronounced with a long “e”).
Cecil: Damn shame about those kids.
Sue: (talking over) Is it true that Skipper can’t be governor now?
Eliot: (in background) Who? What?
Peggy: Sue.
Sue: (talking over) Not ever!?
(Eliot pours a drink for Cecil)
Peggy: I’m so glad you came.
(Eliot slurps his drink.)
Peggy: Skipper would be so glad too.
Sue: Oh Peggy-
Peggy: (talking over) If he knew.
Sue: Where’s Random?
(putting drink down on table.)
Peggy: Out. Looking for…….. Kim.
Sue: Oh.
Cecil: Prob’ly drunk drivin’ aroun’.
Eliot: K-Kim Peggy?
Sue: Oh, thank you, Eliot.
Peggy: Oh, I didn’t tell you yet. Kim’s….
(putting drink down on table. Ice cube plops in drink.)
Peggy: … disappeared!
Cecil: With-with Carl Clock?
Peggy: Oh- we don’t know!
Cecil: (talking over) That tick.
Sue: Oh Peggy. When will we know? I mean…. about Skipper?
Peggy: (holding back a sob) We’ll know……. (taking a deep breath) when Doctor Fork gets here…… with the anec-anti-
Cecil and Sue: antidote.
Cecil: (under his breath) if he ever does.
Eliot: antidote, with the antidote.
(Doorbell.)
Eliot: (talking over the doorbell) I’ll-I’ll let him in.
(walking to the door)
Eliot: Oh, hello Ethel.
Ethel: Oh, hello Eliot. You know Doris Drain, [Drain, MO, near Strain, Noser Mill, Tea, etc.] don’t you?
Eliot: (cheerfully) Oh, uh- I sure do. Hello Doris!
Doris: (affectionately) Hello Eliot. (cheerfully) Hello Peggy!
Peggy: (coldly) Hello Doris. Hello Ethel.
Ethel: Hello Peggy. Uh- this is our friend Woodrow Stool.
Woodrow Stool: Hello Peggy.
Peggy: Hello….. Woodrow?
Woodrow: Hi Eliot! Ha- Well hello, Sue. I…… didn’t expect to see….. you here.
Sue: Hello Woodrow. You remember my husband, Ce-Ce-Cecil (pronounced with long “e”)?
Woodrow: Good evening, Cecil (pronounced with short “e”).
Cecil: Hello, Woody.[Woody in Greene Co, IL; Woody may also refer to James Woods, star of Northfork] Hi Sue.
Sue: (very cheerfully) Hello Woodrow.
(chuckling)
Sue: Hello Doris.
Doris: Hi.
Sue: Hello Ethel. Hm. Smells like a dead cat in here.
[END TILE]

http://en.wikipedia.org/wiki/Peggy_Sue_%28song%29

—–

Must also analyze Billf. in terms of Greenup collage series, starting esp. with Greenup 03.

——

Speaking of which:P Diamonds Restaurant, also in Franklin County and known coast to coast according to ads. This is reference to Atlantic and Pacific, and Franklin County itself as microcosm of America herself. Proof?: Pacific town on east side of county, and Japan (Pacific on west for that country) on opposite side of county, just below aforementioned Tea, etc.

http://en.wikipedia.org/wiki/Pacific,_Missouri

Pacific was laid out in 1852. It was so named because here the new railroad started for the Pacific Ocean.[7]

In 1903, a great fire arose in the middle of downtown and the entire city burned. The city has never fully recovered.

In Billf., we start out with Shine on You Crazy Diamond, Part 1 (Atlantic, probably) and end at SYD Part 2 (Pacific, most likely). In the middle of the synch we have Lucy in the Sky with Diamonds, combining the 2 and probably representing Great Lakes as whole. These 2 Diamonds, separated (quote Floyd here syaing the 2 parts were originally together, but split on opposite sides of WYWH album with songs between them).

Tile 10 of Billf. comes at approx 1/3rd point in sync, and at end of part 1 of 3. At end of this tile, we have the cuing of Division Bell to whole part 2 of 3 (throwback tile), but with important inserts. We’ve mentioned Lucy in the Sky with Diamonds in the middle of this tile. “Kanes” (evacuation committee) attempt to guess the 2nd and final Floyd album to be used in the sync, theoretically. Walter (J. Woods) succeeds, and the actual album then starts (get exact cue point). This begins tile 11, then. Ursula, after Walter’s successful guess (chicken broth): “Cup or bowl?”

—–

http://www.rogerebert.com/reviews/northfork-2003

* Northfork born in 1776, died in 1955.

—–

Coming up shortly, we’ll be examining the movie Head. Stayyyyyy tuned!

http://www.theguardian.com/music/2011/apr/28/monkees-head-jack-nicholson-interview

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Filed under Arkansas, Carrcass+08, MAPS, Missouri, New York, Tennessee

Tagged as Peggy 01 02^^!%

October 13, 2014 · 12:50 am

Thoughts

Ashville in 7-10 years. Have plenty of time to prepare. I can’t really stop thinking about it. A new and entirely different thought flow is occurring, just above my head now. If I could raise up a bit more I’d be in its midst. I would see the correct relation between Blue Mtn. and Ashville, and also Abington, Aveberry, and Mythopolis.

The Bill:

We are ready now.

bb:

Oh. Hello Bill.

The Bill:

You can call us “The Bill”, please.

bb:

Are you from Ashville?

The Bill:

Yes. We are from Bill Creek. We are threatened. That’s why we reached out across time, space to snag you.

bb:

Snag, eh?

The Bill:

Yes.

The Bill:

What is your relationship with Hucka D.?

The Bill:

We are his cousins.

bb:

Hmmm. This Frank and Herman Einstein blog will probably be wrapping up in about 2 to 2 1/2 years, making it about the same length as the Baker Blinker Blog preceding it. Then I’ll probably have a new blog until I retire. Then something new will come along to replace that, in turn.

—–

The Bill:

We are here.

bb:

Thank you. (pause) Sorry again. The Bill?

The Bill:

Yes?

bb:

*Are* you Firesign Theatre?

The Bill:

(pause) No, we are The Bill. The humor chip, as you’ve guessed, has been removed so that we can speak to you more logically about pressing or more important matters.

bb:

I need to declassify the next sync.

The Bill:

Yes. Most definitely. But be careful.

bb:

Do it on the blog?

The Bill:

Yes. Realize that the revelation about Illinois is created by us from the future. Spankey points to Kane. One spanks, and then one canes. Both are punishments, but of different extremes. The copyright has expired on Old Kane so we can make a new Kane. Bottom Fiedler Films put it out, yes. The Kanes in the accompanying movie are also called bottom feeders in the same [tile]. The audio and video become one, then. Young lookalikes named Kane… that’s the bottom feeders of the film, that’s the Bottom Fielder film. And “fiedler” is coded into the same location.

bb:

Let me check something. Thank you very much for this information.

—–

bb:

That place in Illinois we’re talking about is a special spot. The presence of Principia College attests to this.

The Bill:

That was set up for us. As you’re also guessing, it is an art piece, a collage[ of sorts as well].

bb:

K is the 11th letter of the alphabet. J is the 10th, and we have Jersey County with its Jerseyville seat just below[ Greene County]. This relates to the Billfork Core Diagram.

The Bill:

We call that something else. But: yes.

—–

http://www.firezine.net/currant/fredrvw.htm

http://www.nuvo.net/indianapolis/northfork/Content?oid=1228125#.VDuWvBbwHfM

Irwin in Harlan County, Iowa. I-G-A; K-M-E

Northfork-Kyle, WV

Norfolk, AR? (near Norfolk Dam)

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Filed under Carrcass+08, Illinois, MAPS

August 20, 2014 · 5:28 am

Found again.

Of all people, it was Starbuccaneer Barista that found Spider. Ridiculously clever, she had lured him out of a Whitehead Crossing related collage in the Fal Mouth Moon with a bowl of dog food.

“Uhmmmm, yes: eat it up my precious Spider dog,” the resurrected Star said slyly. For she knew that a position of power would soon be in store for her because of this. She must speak to Baker Blinker asap; tell her of what she saw in the corridor. Share notes.

—–

“So that’s where I come from,” said Queen Alma I from the future, peering in again. “A merger of Starbuccaneer Barista and Baker Blinker.”

“And Carrcassonnee,” Hucka Doobie added. “She was strong at the time, having just absorbed the 11th. Tasted like chicken again to her.” He smiled ~~slyly~~ slightly.

“But little Spider would go back into the collages to be lost again. And again. And yet again and again.”

“And again!” Hucka Doobie added again. “You see, he was mistakenly rewarded for entering the collages. Dog food, sticks, squeeze dolls. All these lured him out but also kept him going back, knowing the endpoint.”

“How did it end?” the Queen asked. “Is he still in the collages even now?”

“Yes,” came Hucka Doobie’s answer. “He eventually became All Collages.”

Cardboard Derek Jones suddenly slid his way into the room through the seams of the closed door. “My Majesty. And… um, sire. The dog has reappeared again!”

“What synchronicity!” Hucka Doobie exclaimed.

“Too much so I would say,” says a more cautious Queen Alma I, reading out of a red book that had appeared in her hands. “I’m checked the script now. Spider has learned how to traverse time.”

“Then we’re all in big, big trouble,” returned a suddenly worried Hucka. “Big big trouble.”

Cardboard Derek Jones slides quickly toward them, holding forth a picture, which turns out to be an animation as the Queen and Hucka jointly stare in disbelieve. In it, Baker Bloch and Master Shake also jointly stare in disbelieve as a giant dog turns into a horse before their very eyes.

“That’s it,” Hucka Doobie says in finality, seeing Spider being fed/rewarded from “within”. “We’ve got to speak to Story Room about the 11th.”

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Filed under **VIRTUAL SL, collages 2d, Jeogeot, Noru, Story Room

Tagged as Spider^*+!

August 18, 2014 · 4:47 am

“Just checking in”

Hucka D.:

Baker Blinker will become the Queen of Jeogeot, Alma I as the townspeople will title her. What will Baker Bloch’s reaction be? Can they eventually rule as King and Queen?

bb:

It’s an interesting idea, and, I think you would like to add, an inevitable conclusion of the Jeogeot equals SID equals Wazob concept. Collagesity can stay alive as the result.

Hucka D.:

Projects will be sorted. A SID’s 1st Oz interview is in store. You will interview *me*. How about that? But we’ve already spoken about the possibility.

bb:

Yes. I believe we must warm to the project. How do you wish to attack SID’s 1st Oz this time, as opposed to other times by other[ spirits]?

Hucka D.:

Booker and baker? Baker is you. Booker is you? I am Hucka D.

bb:

You’re saying you are a real[ spirit] and the others are fake or faker?

Hucka D.:

Yes. I am the Bee at the center of SID. I cause the mobius triangle that trips Jack Pumpkinhead, sparking the synchronicity itself. Where is the grounding 4th? It must be the wound up Tik Tok. Tik Tok is me as well in the movie — the Bee of the film. To ground me is to ground the new SID’s 1st Oz interview.

—–

Hucka D.:

I am becoming 1Pink.

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Filed under **VIRTUAL SL, Jeogeot, Noru, SID's 1st Oz

August 11, 2014 · 11:46 am

Notes

A Carrcass-11 appears to have begun. Excitement! A strange one… but all seem strange at the beginning. It will evolve. But it will also take energy from Second Life development now.

For that reason and others (prim limits comes to mind) I might simply table the Jeogeot Through Art and Word exhibit and fill the X-Spot Gallery just with collages. The art of Andy Burgess and his crazy quilt cityscapes might be a good choice, and seems to mesh with the idea of Collagesity as a large montage in and of itself. I had Baker Bloch fly around the old area of Middletown yesterday and some interesting things perhaps remain but most is now vacant land. I’m not sure an archelogical dig into that region will be successful in uncovering significant stories about its past. But I’ll keep trying. So I think I’ve about decided that JTA&W will have to go, and I won’t enlarge it instead.

I’ve positioned several one prim buildings on a parcel next to Southside that remains vacant. I’ve im-ed the owner and stated that if he wants to remove them it’s fine with me, and I just erected them as transient eyecandy. I even have a name for the small neighborhood: Arrowtown. The bow of the statue Diana aims an arrow directly into its heart, with 3 lone, snoozing residents — friends, as it were — as focused-in targets.

Overall town goverment remains vaguer. I don’t think Westend’s Confluence Place will be demolished now, as I found out I can cut its prim numbers almost in half. But Westend as a whole has little personality, and contains no galleries as such. The planned Stairs Gallery No. 2 at the end of the main path cutting through the suburb remains empty, as does the town hall. As does the Confluence Place mainly, subtract the several jungle animals positioned on the bottom level just in front of its large, square waterfall. Oh, and the small dog named Spider still standing and spouting out permutations of the number 2130 in his recess on the top floor. The House of True Lies appears to remain a place where townspeople resurrect when they die, but I’m not totally sure. What direction is Westend headed, if any?

I always want to have about a spare 200-220 prims to work with when I reduce back to just Collagesity and Westend. Yes, I’ll have to “give up” Southend in about a month, although the possibility remains that I can turn over the land to a rental agency like Lama Estates. But even if so, Southend’s prims will be separate from the land I own, so I’m going to have to reduce anyway. Unless I shift my sky sandbox over to Southend — I have plenty of prims left to work on that parcel presently.

Anyway, just an update for those who are curious.

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Filed under **VIRTUAL SL, Carrcass Artists, Jeogeot, Noru

July 11, 2014 · 6:13 am

Collagesity Mysteries 01

About a week and a 1/2 ago, an avatar named Tseten Thokmey bought my Hector land for a sum I deemed just barely adequate for the transaction. I loved that land! Still do. I could live around the Rubi forest once again. But look at what Tseten has done: he’s essentially extended the forest into his farm! A bucolic existence he has carved out. More power to him, and I’ll probably have some things to say about Tseten later on. Just yesterday or the day before, land came up for sale bordering the lower part of his farm. Was I tempted to, once more, buy next to the Great Rubi Forest? Yes, a bit. But I realize that I’m committed to Noru, and the hard fought battle is now over with. Time to heal the wounds and not open them up again. Tseten would have made a fantastic neighbor, and, yes, we could have extended his farm and the forest as a whole even further…

… but, then again, I have a fantastic new neighbor in Noru now! My previous neighbor in Philudoria, Veyot, during the original incarnation of VWX Town there last summer, has decided to commit to a piece of the excitement happening in Collagesity, purchasing a 512 parcel just behind the Power Tower Gallery. Her purchase basically extends the town in a westerly direction, making Collagesity almost run the entire 256 meter east-west extent of Noru. Not quite but fairly close. I’m continually surprised how synchronicities like this work, and I view the neighbor quandry, quickly resolved mind you, as a kind of residue energy of the whole Noru-Rubi “battle”. Instead of Baker Bloch becoming the neighbor of Tseten in Rubi, Veyot becomes Baker Bloch’s neighbor in Noru. Another red-blue exchange, then.

And her parcel is very nature oriented as well. 🙂 A nice East End park for certain. And I’ll have more to say about Veyot later on as well, as things continue to develop in the new town. What up with all those things going on in the Confluence Place??

Baker also recently visited the village he created in Yeot this past spring. Presently, he has no way to further alter the strange, little burg, but he’s just come up with a name: Gong. Or Gongsity. More recently he went there to copy Edward’s Building/Gallery to place in Collagesity.

Gongsity.

Gongsity, with namesake Gong’s waters made transparent.

—–

So, returning to Collagesity, there are many mysteries yet to be solved or even revealed, like the fact that the red and blue robots on either side of the Coolie Building (since moved) lie directly north and south of each other, and on Hi Way and Lo Way respectively. I didn’t plan this alignment; I didn’t plan a lot of Collagesity’s alignments that just *happened*.

I just received a text message that Carrcassonnee has suggested we call her home the Cardinal Place instead of the Confluence Place. I’ll add it to the original town meeting’s docket, which should be happening pretty soon.

“Red/Blue”:

Red/Blue

Along with Carrcasssonnee, we’ve already talked to ballerina Dona in this blog, apparent twin to the very similarly colored flower directly behind her as seen in the camera angle below. And we’ve actually already talked to this “flower” in the blog, as a blog spirit I mean (think: Hucka D., primary blog spirit). I wonder if Dona and/or Flower know Carrcassonnee? I would imagine so.

Looking up Tired Falls toward the heart of the village. The buildings around this falls are among its oldest, originally forming a smaller settlement called Tired Falls itself. This according to several of our blog spirits, including Hucka D., Carrcassonnee, and maybe Dona/Flower. I’ll certainly have more to say about this original settlement soon.

I’ve noticed a resemblance between Collagesity and the fairly similarly sized Lake District village of Stonethwaite, England, the latter being the subject of a good chunk of my most recent and also largest collage series called Falmouth, housed in the Fal Mouth Moon gallery in town. And, yes, I’ll have more to say about that soon as well.

Check this out: my collage reinvented Stonethwaite and Noru’s Collagesity both have blue bikes (!) Are they the *same* bike? Could be. Perhaps the super band Story Room will have some things to say about that. The blue man next to the bike is one of its 3 members that I know of, although a fourth is rumored. But I can hear Hucka D.’s talk echoing in my head, as he says, “there’s always a rumored 4th [about groups of 3].” He’s probably right.

In the largest Falmouth collage, Story Room’s red member balances out the blue one on its opposite side. But since the collage goes ’round in a big circle, the red and blue beings are also actually next to each other. Why is blue upright and red sideways? Why does “Red’s” ruby red feet impossibly project through the corner of a Stonethwaite building? More blue-red mysteries for certain!

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Filed under **VIRTUAL SL, collages 2d, Jeogeot, Lake District, Noru, Story Room, United Kingdom

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