Apparently I’m not done with the series (!) I’m going to have to modify the Boos gallery to accommodate new work, however. We’ll see how it goes. Excitement!
“This Town Ain’t Big Enough”
“This Town Ain’t Big”
“Enough”
“Battling The Boos”
And now I’m *really* out of room in the gallery. So this may be it; unable to extend the gallery upwards, it seems (btw, land is up for sale in Minoa again).
Filed under Canada/Tungaska, collages 2d
(continued from)
“Boos Attach”, the 14th collage of the Boos series, sort of summarizes some trends we’ve seen building up. We are now in the heart of little Tungaske village, with creatures called boos in both positive and negative aspect swarming on the western horizon. Buildings have been numbered, perhaps for conquest purposes. Is an attack really eminent per the collage’s title?
The yin-yang ball from collage 12 is being rolled into the center of town. Near it is giant sized Fitz from “12 Oz Mouse” with a meteor for a head. We’ve discussed the Tungaska slant for the collage series in Boos Overview 03 a bit. The meteor has landed. Between the similarly sized meteor and ball (are they suppose to represent the same thing?) is the head of yet another golf iron — we have 2 in the present collage, this one on the right side and then another to the left. Each is apparently wielded by a boos creature seen in the foreground, one negative/black and one positive/white. But the white one’s head is covered up by a spool table, another frequently repeating object in the series. This is obvious reference to Bigfoot again and its spool table, which has been called Brain Head, a yang element. The head of a golf iron does not touch the side of the spool table here, as it does in collage 08 and 11, but since the white boo holds the iron and his head has become the spool table, there’s still a direct relationship inferred, perhaps a more pictorially advanced one.
The black boo holds the golf iron whose head lies between the yin-yang sphere and Fitz-with-meteor-head. I think we have to associate those two spheres with each other. And then there are 2 more boos-as-spheres on the spool table, menacingly surrounding a Mario Brothers character with the table’s central hole showing between his legs. A “3” appears above his head. The grey boo on his left appears to be attacking him, while the one to the right merely closes his or her eyes, unable to watch. These might be the same as the “boos brothers” from the previous collage (“The Boos Brothers”), but, if so, their color is somewhat different, and they’ve sprouted wings in the meantime.
Let’s return to the matching spheres on the right. Are the Tungaske artists rolling the yin-yang ball — still with “Trapped Wheeler” inside — toward Fitz to replace the meteor on his head? Does Fitz need a new head since his old one has been pulverized? The head of the iron between the two begs us to think about this. This is about Bigfoot. This is about Tungaske. But chaos rules all around, and nothing really makes much sense, despite some obvious associations and links that can be made. Let us leave it for now as a depiction of an attack, with some form of damage control in effect.
The next collage, “The Unloading of Bigfoot”, may give us some additional clues about what is going on.
We are now on the other side of town from the downtown region depicted in “Boos Attach”. A giant shoe has touched down in a vacant meadow. It seems to be unloading red houses — some appear on the ground before it and some are still on the grassy landscape of the shoe. A giant mossman may be in charge of the unloading, aided by a blue octopus who resides in a pool inside the shoe. Another mossman stands on the road looking at the first one. And then the bird sculpture from collage 03 reappears here in the foreground, which I’ve already associated with the circular Bigfoot marble track. A dislodged poster advertising a Tungaske studio tour has fallen on the ground between it and the backwards turning mossman.
Bigfoot and these entities and objects seems to be coming to the rescue for Tungaske. While negative forces attack from the west, a balancing benevolent force appears in the east. Tungaske is most likely saved. We should probably assume that Bigfoot’s spool table is unloaded as the spool table on the property seen in collage 11, which is also on the eastern side of town and only one block down from the setting of collage 15 here. Their shared avenue is named Sask, short for Saskatchewan. Coming up we will visit locations on parallel Tungaske streets called Atlantic and Pacific.
(to be continued)
Filed under BIGFOOT, Blue Mountain, Canada/Tungaska, collages 2d
(continued from)
A sphere is also found in the next collage of the Boos series, another 2 part animation. I call it “The Boos Brothers”. Mars is the ball in question now, looming impossibly large in a lakeside setting. Two round creatures baring sharp teeth fly in front of it in part 1, who I know to be the Boos brothers of the title. Perhaps they also stand for Mars’ two moons Phobos and Deimos. They head toward a rust colored silhouette of a woman perched on the bank of the lake. This is actually another statue created for the same Tungaske art event that produced the sphere covered in collage 12 before this. The word RUST appears on the sandy incline below it. A spaceman walks in the lake carrying a large box. Peter from The Fringe swims directly in front of him (or her). He looks toward the rusty woman, seemingly in alarm. His head is framed by the spaceman’s box.
In part 2 of 2, the Boos Brothers have almost moved off-camera to the right. The rusty female torso is nowhere to be seen; have the brothers *eaten* her? The spaceman has moved in front of Peter. His box has shrunk, and he can carry it with one arm. The other arm, now free, reaches toward a tiny cave in the lake bank. We cannot see the hand of the arm. Has it also been “eaten” or somehow lopped off? Or is it just queerly hidden in the shadow?
So what is the meaning of all this? Mars, I believe, is a direct extension of the yin-yang ball seen in the previous collage, and refers to the question, “what’s black and white and red all over?” The traditional answer to this koan is a newspaper or, sometimes, an embarrassed skunk or a zebra with a rash. Here it could be the red planet Mars. A 31 kilometer Martian crater has been named for the town of Tungaske, but noone seems to know the reason why. The boos creatures are perhaps confused about their place of origin. Is it the Martian crater or the town that the crater is named for? At any rate, we know from the next collage that they and their numerous brethren in both black and white forms are headed toward Tungaske en masse.
The boos creatures are introduced here because it was at this general point I decided to name the still evolving collage series that name, after a village in Jasper County, Illinois. I explain some of this in the Boos Overview 01 post. I googled “boos” images and all these round eyed toys came popping up. The two I used in the collage are apparently Mario ghost boos, a malevolent strain.
And I should also put forth the idea here that the map duad Jasper-Newton itself is a yin-yang symbol. In Illinois, the county seat Newton is submerged inside the county of Jasper, as if a seed. In Arkansas the situation is reversed. This duad also represents the two sides of our US of A, or north (Illinois) and south (Arkansas). They also stand for conscious and unconscious states of being, a bigger tableau. If Mars is both, then we are truly dealing with powers of a high intensity indeed.
http://www.insistpost.com/cycle-of-karma-and-reincarnation/
Interesting reading about “hungry ghosts” here:
https://en.wikipedia.org/wiki/Hungry_ghost
It is believed that the soul contains elements of both yin and yang. The yin is the kui, or demon part, and the yang is the shen, or spirit part. When death occurs, the kui should return to earth, and the shen to the grave or family shrine. If a ghost is neglected, it will become a kui. The shen, or ancestral spirit watches over its descendants, and can bring good fortune if properly worshipped.
(to be continued)
Filed under Canada/Tungaska, collages 2d
(continued from)
If collage 10 brings us fully into a Tungaske collage environment and establishes an aesthetic foundation for all to come, then collage 11 provides us roots. We are at a particular house that I will not identify except to say that it is the home of a prominent town artist who I seem to be able to identify with more than any of the others. That’s because we’re both artists of *junk*. A key link is the presence of a large spool table on the property, much like I built my Bigfoot junk/toy environment around a (smaller) spool table in part. You can clearly see the Canadian artist’s table in Google Maps Streetview, and also, surprising me, on a short, very choppy video someone made while driving through the town in 2011.
Collage 11, entitled “Hucka Homebee”, is an animation, like collages 02, 03, and 08 before it. Here’s part 1:
We have the return of several items seen in former collages. Two reappear from collage 5 (“Simpsons Road Bloch”), or the Oz Wheeler and the triangular formation of Simpsons toys. The Wheeler again stands in the middle of a road and at the bottom of the picture. The Simpsons figurines again stand to its right, but in a yard now and not a road. The golf iron from collage 07 (“When Wheels Went Round”) is seen to the Wheeler’s left. Like with that collage, the head of the iron touches a *spool table*. The same Wheeler is found in collage 07, but on top of such a table and not in front of it.
In part 2 of the animation, the Simpsons figurines are replaced by a doll version of resident blog spirit Hucka D., referred to in the title of the piece. Specifically, the doll is superimposed directly atop Homer Simpson in the animation. This symbolizes the home aspect and the rooting act. *I* come to roost in Tungaske, borrowing a resonant artist’s humble dwelling spot. Hucka D. shows the way, becoming “Hucka Homebee” in the process. It’s possible an unconscious nod to a baseball home base occurs here with the positioning of Homer in the corner of the yard. Notice also the parked car to the right, which may resonate with the Boss, MO parked/junked car of collage 01 and 02.
And, yes, I’m aware that Hucka D. has not made himself known in my new round of collage interpretations. I gave him an opening earlier to interpret this particular collage of the series, along with others, but he left it alone. My instinct is to keep moving forward without him for now, until I get myself in a pickle.
We see the return of the yin/yang or tajitu sphere in collage 12. The artist whose house is featured in the previous collage is one of those pushing or holding up the ball. This is *her* creation, at least in part. Per the title (“Trapped Wheeler”), a Wheeler is encased within the black half of the sphere, but the image is now that of William A. Wheeler, vice president to Rutherford B. Hayes from 1877-1881. However, we’ve also seen this particular Wheeler in the first half of a May 2015 Stonethrow animation I called “Beware The Heelers”. There the association with an Oz Wheeler is first made: the lower half of the stairs version of the vice president is replaced by the wheeled lower part of the Oz creature. Then in the right side version, a different slant on this amalgamation takes place as his hands are instead replaced by shoes.
“Beware (The) Heelers 01”
These same shoes also reappear in the present collage, seen attached to the people on its left hand side. This again stands for the audiovisual synchronicity “Head Trip” we’ve mentioned before in connection with collage 07, “Head Brains”.
A spool table appears in that earlier work as well. Perhaps a cursory description of the synchronicity from my August interview by Karl Tune is in order here.
I thought “Head Trip” to be an important work moving forward and I sent out some tapes to people. We were still on the edge of VHS tape days. I was very pleased that about all of them “got it”. At its base, “Head Trip” is a continuous toggling back and forth between 2 movies which are dubbed by 3 audio sources. It involves 47 tiles if you include plain dialog segments, compared to 32 for “Billfork” and 26 for “SID’s 1st Oz”. I mention these numbers for another particular reason.
You have to keep in mind “ST/TD” was a very small forum. Others began mentioning “Head Trip” and I chipped in with my own theories about it. Some tension manifested from the theories. Whytless Physh left the scene, saying he had accomplished all he wanted to do here with “Jesus Who?” Last I heard, I believe he spoke about refocusing his energies on becoming a lawyer. Dave had wrapped up his run of Rush centered synchs. Stegokitty had moved on to different interests. Virotti became frustrated that we were talking about other things besides file sharing. The wheels were falling off, like I said. And not just for this forum, but for the progressing forward of audiovisual synching in a group fashion.
What I’m going to take away from this is the link of the phrase “wheels falling off” here with the “trapped wheeler” aspect. In terms of group energy, “Head Trip” was a dead end. The Wheeler inside the ball is *me*, unable to go further in a particular direction. In another way, it is the interviewer Karl and the limitations of what we spoke about. I purposely concocted our interviews so that they would be of about equal length — another tajitu situation. And each interview itself is divided into 2 equal parts. The gap Karl had in his experiences with audiovisual synching groups acts as the seed for my own interview. And visa versa — I didn’t know a lot of the story behind Shared Fantasia II, for example. Wikipedia defines the yin-yang symbol as, “a circle divided by an S-shaped line into a dark and a light segment, representing respectively yin and yang, each containing a ‘seed’ of the other.”
The Tungaske woman artist whose house we see in collage 11 is the one who most holds the Wheeler figure here “in place,” her arms pushing against his shoulder. The metal sphere the yin-yang ball replaces in the collage might itself be a kind of failure or dead end as a sculpture. Unlike other pieces in the same location (seen in other photos from the particular art event), we do not see it subsequently exhibited in a Tungaske location. Sometimes spheres are difficult to hold together in the long run. You need some help, perhaps divine provenance.
(to be continued)
Filed under BIGFOOT, Blue Mountain, Canada/Tungaska, collages 2d
(continued from)
And then in the 10th collage of the Boos series, called “Goodwater Goodland 02,” we have a direct continuation and also *inversion* of the central images of “Goodwater Goodland 01” coming before it. The Tungaske mural is now seen as a *whole* and not in several parts, albeit with rectangular holes where the smaller differently angled pictures have been removed. The inverted image is, however, still superimposed over the same rusty looking funerary book found in the town cemetery.
It’s a very simple but startlingly effective work to me. With this mere single addition, a cemetery monument has transformed into an alien face, which I originally dubbed “The Martian”. We have gone quite a ways now from the relative rawness of the first several collages of the series, and have seemingly latched onto a newer, more powerful artistic energy. I identify this with the energy emitted from the town of Tungaske itself, an artistic hamlet after all. I didn’t really grasp this probability until after creating “Goodwater Goodland 02” and then doing some subsequent research.
I could have stopped here in the series, happy with the transmutation of base elements of collages 01 and 02 into a new form with the inversion of these Tungaske core elements from 9 into 10. I’d symbolically flipped around the tajitu sphere appearing in 9 from yin to yang, seemingly.
Many of my collage series come to a halt with the 10th work, after all, including the 3 that appeared before this (Sam Parr, Embarras, Stonethrow). But it was destiny that I forge ahead in this case, the first time this “extension” has happened since the Falmouth series unfurled about a year and a half ago now. Boos was destined to contain around 27 collages as a whole by present count.
Missouri would not appear again in the series. Tungaske has taken the upper hand.
completed floor 1
(to be continued)
Filed under Canada/Tungaska, collages 2d
(continued from)
In the 9th collage of the Boos series, entitled “Goodwater Goodland 01”, we return to a Missouri setting, with the base photo being of Mina Sauk, highest waterfall in the state and located in Iron County. In an early draft for this collage, I simply superimposed a map of this county onto the 2 tiered falls, with the idea that both appear in two basic parts as you can see here…
The rusty colored patch on the rocks of the falls just above the map acted as another tip to unite the two elements. Then in subsequent drafts the Iron County map was replaced by a “rusty” book I found in cemetery photos of Tungaske, Sask.: the two halves of the county become the two parts of the open book, which the falls pour into (edge) and then pour out of (spine).
The book is also notable as being the first image from Tungaske that I use in the Boos collage series, following by many more. The link which led me to this tiny, remote Canadian village? It’s the presence of population places named Goodwater and Goodland in the western part of Iron County, and in the same township (Dent) as the aforementioned Buick and Bixby communities there. Googling images through the conjoined “goodland goodwater” names quickly brought me to this Tungaske cemetery. Among the many pictures online the rust colored funerary book jumped out at me.
In the images I also found this one…
… and later learned that the name Tungaske itself means Goodwater according to some sources, thus its presence in the title of what is apparently the definitive history book for the community. But there’s more to the story than this. Check it out here.
The history book and the funerary book are now joined as one. I call the fictional synergy “The Big Book of Rust”. We may even quote passages from it later on.
Now to the elements added just a bit beyond this in the lower part of “Goodwater Goodland 01”. We have the return of a woman artist from the 2nd collage of the Stonethrow series, the one coming before Boos.
In the present collage, she is again placing a round object into the white “eye” of a tajitu or yin-yang ball. I newly associated this with the Bigfoot art event, which took place in meantime. Namely it is the placement of the “iron smelting plant” to mark the center of the *yin* aspect of the marble race track, where it circles back around to head toward the spool table and complete its circuit. In the new collage, the sculpted eye she holds in the Stonethrow work is replaced by a similarly round sewer cover held down by a hand of Homeless Man (who himself appears in a subsequent Stonethrow collage).
If we look closely, we see the sewer cover, although the same “size” as the pictured white eye of the symbol, is turned in a way that will not fit this eye. The artist even seems to hold the eye more than the sewer cover. This could refer back to the “seed” of earlier collages, which appears in 2 forms perpendicular to each other (car and car’s license plate). There’s also a good chance that the woman artist of “Goodwater Goodland 01” stands in for another female artist from Tungaske, associated with the same tajitu sphere in a collage we’ll be examining soon. But for now, something doesn’t seem to quite fit yet.
And then the final elements of the “Goodwater Goodland 01” — 3 images of the same wall mural — also comes from Tungaske, being placed over on the other image (funerary memorial book) from the same town and partially obscuring it. This could represent differently angled illuminations from “The Big Book of Rust” itself.
(to be continued)
Filed under BIGFOOT, Blue Mountain, Canada/Tungaska, MAPS, Missouri
I’ve about decided to name the T-Town dominating the Boos collage settings Tungaska instead of Thornberry. It is phonetically closer to the actual name of the town. The Tungaska event is generally described as the effects of a meteor colliding with Earth, and considered the largest impact event in recorded history. Meteors are depicted in several collages of the series, for example, in “Boos Attach” (collage 14). The state of Tungaska in that photo makes it appear almost to be in ruins.
Or maybe it is Tungaske.
Anyway, when I looked up the Tungasaka event in wikipedia and went to the attached “Tungaska event in speculative fiction” link, I found this close conjunction of authors named Stephenson, seemingly unconnected to each other except for using the event as a plot device in one of their recent books. Neal Stephenson (misnamed in the article) is a famous sci fi/speculative author perhaps best known for the pioneering work “Snow Crash” from 1992. Charles Stephenson is an unknown writer in comparison. Both put forth different theories in their books about the cause of the event. Neither involve meteors.
In Seveneves: A Novel by Neil Stephenson (2015), after the Earth’s moon explodes in the first pages of the novel, it is suggested that a small speeding blackhole, such as was hypothesized (and disproven) to have caused the Tunguska event, caused the moon’s explosion.
Charles Stephenson’s 2013 novel The Face of OO culminates with the explosion over Siberia. In this story a hijacked airship, which is carrying a ‘divine weapon’ mentioned in the Indian great epic, the Mahabharata, explodes causing the massive blast.[1]
In the “Boos Attach” collage, 12 Oz Mouse’s head is pinned down by a meteor. But he’s okay. The meteor has landed, however. Umaps gives us additional clues, seemingly, about the impact (or “impach”), relating it perhaps to the “inch” measurement, for some reason. Inch, ounce, pound?
Another place we see the same cartoon meteor from 12 Oz mouse is the 6th collage of the series called “12 Pound Mouse Mound”…
12 Pound Mound is a terraforming anomaly in Nautilus City recently re-discovered (and newly named) by Baker Bloch. In the collage, the anomaly transforms into the new body or torso of 12 Oz Mouse himself, his head awaiting the impact of the meteor, per the accompanying video seen in this earlier post.
So “Boos Attach” is a completion of the event first seen in the earlier collage “12 Pound Mouse Mound”: before and after pictures. The meteor has landed.
And with it, perhaps the (fictional name) Thornberry Tungaska Tungaske, Sask. is born.
The meteor gives birth to something new instead of destroying.
Filed under **VIRTUAL SL, Canada/Tungaska, collages 2d, MAPS, Nautilus, Nautilus City, Washington
“All Together Now”
And this *could* be it for the Boos collage series. I’ve basically run out of room in the Nautilus City gallery. We’ll see soon enough. Does it shift back to Rubi? Probably not.
Filed under Canada/Tungaska, collages 2d
“2 Fer 1 01”
“2 Fer 1 02”
I’m running out of room in me Nautilus City gallery…
Filed under **VIRTUAL SL, Canada/Tungaska, collages 2d, Nautilus, Nautilus City
Sunklands 
