Category Archives: Missouri


Toddles hated to drug up her grandma to explore The City at night unless absolutely necessary. But she had to go back to Boos without her interfering *negativism* to investigate the first floor collages more and the perhaps clues she saw in them when they both visited the other day. Poor Grammy, the prescient (and precious!) toddler lamented. So fixated on the collages over at the Red Umbrella that she can’t see the advancement of all that interesting energy into the Boos series (exhibited) here above the Temple of TILE now. Toddles ganders at the toy action figure she knows later turned into Casey One Hole, another a-hole of a man, although she’s not suppose to say that word aloud. “Grammy be *damned*,” she dares while staring and glaring. “He *is* an a-hole. And what does he look over at in the other hand? A seed. A license plate that is a seed. A tiny car of a thing held by someone named Olive. Olive something. Kimball something… Oliver.” She was tuning in better, eliminating the rest of the static. “Oliver Wendell Douglas,” she speaks clearly. “And ‘A Dirty Little Wet Seed’.” We know what that is.

She thinks back to the rest of the series just viewed and how it progresses to this *point*, this seed.

Another seed? (comedy)

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Philip Strevor was his own boss for a while but that changed when he entered the Red Room and met Casey One Hole, the bastard. From then on, he worked for him; boss no more. Instead he was a grunt man, bullying underlings and upward mobile wannabes. Like Whatammys except transparent. Sammy Whatammy, aka Miss Raincoat, waited in the waiting room to be seen next by Philip. Then it was Yoko Ona (upward mobile wannabe) and then Zapppa (underling). The place was still heavily bugged.


“Never mind the sign,” he made the obligatory apology to start. “I’m not the boss any more. *He* is. He calls the shots, sometimes golf shots, sometimes other kinds of shots, if you know what I mean.” He stared at Miss Raincoat/Sammy Whatammy, expecting an answer. “Do you *know*… what I *mean*?” he repeated more sinisterly, as was appropriate at this juncture. He’d seen it happen. He didn’t want to see someone face that kind of music again. Pizza!

“I testified just like [delete name] wanted me to. I said all the words I was suppose to say.” She repeated some of the words here: “Underwater. Sinky. Blub blub blub. Just like [delete name] told me.”

“Why can’t you say [delete name]?”

“[Delete] what?”

“The name of our (actual) boss. [Delete name]. Dang! Now I’m doing it too. Must be [delete word].”

“[Delete name][delete word] is obviously [delete word][delete name]. Reversed.”

“*That* bloodied vampire? That imbecile? Impossible.”

“I believe [delete word].”

“*He’s* Casey One Hole? Played by ever method actor Tom Casey? Dang!”

(to be continued?)

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Our US

“Do you think Yoko Ona will make it back to the motel, David A.B.?”

“Doesn’t matter,” he waved it off. “SEAN’s here now.”


“And Arkansas right in the middle of things,” a studying SEAN “Green” Penn utters within a secret room behind the motel desk. Clerk Sarah McDooglehan didn’t mind. Since she was a dummy through and through. She’ll come to life soon enough as Yoko’s Cindy A., designer of planes and then murderous rockets. Enough to get the job done. The shot hit both Pipersville and Sink X at once — right in the middle. Just like Arkansas. And Missouri: 1/2 and 1/2.

“Check this out, Green,” spoke Blue from a table also in the room. “Martin Allen. Just like in Floyd County, Kentucky.”

“And Bennett County, SD. And NE. And MS. But everyone knows that has to do with poles. Polar explorers. Like Richard Byrd, except different.”

Jack Blue looked over. She was glad she decided to bring SEAN “Green” Penn back into the picture. Needed tangents. Like Peppi outside. She knew this was a Diamond of a case.

(to be continued)

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True Man Show

“It’s possible here in Columbia for people to see surrealist masters like this in our own backyard,” Laverick said. “That’s what the Tiger Hotel has always been about, creating a place that would be at home in New York or Chicago, and this is the next level of that. These paintings would normally only be accessible in a big city but they’re right here.”

“Today Missouri. Tomorrow: Rosehaven.” Ruby Fantasie extends her arms and shrills in as nasal a voice as she can muster over the city. “Come fiind mee! I’m heeere!!”

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Yesterday on Farcebook…

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Bentmore-Future Home line passes directly over Greenway here where it intersects path leading to Prime/First Stream area via Grassy. In this location, Grassy and Greenway act like concentric circles. Future Home = center?

Grassy (all):



The Plutonians are two jagged-shaped aliens from the planet Pluto or beyond Pluto.

Oglethorpe (voice of Andy Merrill), the leader, is the obese, orange-colored one who usually comes up with their “plans” for World Domination. Emory (voice of Mike Schatz), his tall green sidekick, who was explained to be partners since college, hooked up by a computer, is the tag-along of Oglethorpe, and usually the one to know when things have gone sour. In “The Last One,” Oglethorpe mentions that he went to high school with Ignignokt, mentioning some kind of incident on the bus. Despite this, the Mooninites think that “Plutonians are teh suck”, which started Spacecataz. The Plutonians’ ship is also, incidentally, Uglor’s ship from Space Ghost Coast to Coast. They can be seen in Master Shake’s pinball machine in Eggball.


They are named after the two universities in Atlanta, where Williams Street created Adult Swim.

Mount Oglethorpe, the southernmost peak in the Blue Ridge Mountains,[2] is located in Pickens County, Georgia and was the southern terminus of the Appalachian Trail from when the trail was completed in 1937 until 1958. In 1958, as a result of over development around Mount Oglethorpe, the southern terminus of the Appalachian Trail was moved about 20 miles (32 km) to the northeast to Springer Mountain. Mount Oglethorpe is considered by some to be a more dramatic mountain than Springer Mountain, but the construction of a gravel logging road on the mountain and the development of a number of pungent chicken farms along the route, contributed to the move.

Until 1930, Mount Oglethorpe was called Grassy Knob, but the peak was renamed Mount Oglethorpe in honor of James Oglethorpe, the founder of Georgia.

Pluto was discovered by Clyde Tombaugh in 1930, and was originally considered the ninth planet from the Sun. After 1992, its status as a planet fell into question following the discovery of several objects of similar size in the Kuiper belt. In 2005, Eris, which is 27% more massive than Pluto, was discovered, which led the International Astronomical Union (IAU) to define the term “planet” formally for the first time the following year.[14] This definition excluded Pluto and reclassified it as a member of the new “dwarf planet” category.[15]

Bottom line: Both the (southern) terminus of the Appalachian Trail and our planetary Solar System were shortened by the exclusion of Mt. Oglethorpe and Pluto respectively.  Mt. Oglethorpe changed its named from Grassy in 1930. Pluto was discovered in 1930. (Aqua Teen Hunger Force’s) Oglethorpe is a Plutonian. He’s recently been seen in Collagesity starting here, and directly replacing a grassy colored Karoz at the bottom of Confluence Pool who may realize the same here (?).



Arab is a way to focus Grassy. Means “Foreign One” or perhaps “Alien”, like a Plutonian.

Grassy > Oglethorpe in 1930; Birth of Secondary Triad beyond [Prime/Primary]

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Filed under Alabama, Georgia, MAPS, Middletown^, Missouri

Boos Interpretation 06

(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)

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Boos Interpretation 04

(continued from)


Collage 05, “Simpsons Road Bloch”, represented a small jump up in engagement for me with the developing art series. While the setting remains Boss, Missouri for this, in the air here we have the insertion of a portion of virtual Collagesity’s sky tube, still present in the Minoa sim as of this writing. While collage 03 now also contains Second Life images, that was actually created in the future, at the end of the series, and inserted into the past here to fill an important gap. Collage 05 hasn’t gone through phases like that. So this is really the first time that Second Life images enter the Boos works in chronological terms.

In a somewhat similar way, the Gilatona-Lis picks up speed early on when I start inserting Second Life images, especially with collage 04 (“Eclipsed Marge”) seen here:

Gilatona-Lis also begins with a number of Google Maps/Earth Streetview images employed as bases for collages, just like with Boos now. I believe that’s the first time I used such images in my work.

Specifically, collage 05 of the new series plays with the idea of a Google Streetview anomaly, coming in the form of an apparent “creature” seen beside the road in Boss, Missouri very near the rock house centering collages 01, 02, and 03 (which can still be seen to the left in the current collage). Resident blog spirit Hucka D. has claimed this is a sighting of an Oz Wheeler, a crazy hypothesis on the surface which made more sense when I compared online pictures with what we have here. So for collage 05, I simply juxtaposed the image of a “real” Oz Wheeler, culled from an online movie still of 1985’s “Return to Oz”, with the Google Maps “Wheeler”. I must admit it makes a nice match.

The “Wheeler anomaly” in Boss, MO

The culled or collaged-in Wheeler in the road seems to call toward his mate to the right, perhaps in recognition or perhaps in warning. Standing between them are the Simpsons toys, the “road block bloch” of the collage’s title. I now believe they represent another intrusion from the future, unconscious this time. “Go no further in this direction,” Homer Simpson seems to exclaim in his bumbling but good natured way. And so I didn’t. After this collage I left Boss, Missouri behind for good in the series. But a revisit to events surrounding this particular Streetview anomaly might be in order soon. We’ll see.

Note should also be made of the hand to the left side of collage 05, which is the same as Oliver Douglas’ from the previous collage. The hand still holds the seed, and hovers over the very spot of the parked car discussed in collages 01 and 02. We can now guess that the seed represents more the license plate of the car than the car, judging by its size here. The hand may be attempting to bring the license plate/seed “home” to the car, even, another cycle of completion.


And we’ve already talked about the next collage, “12 Oz Mouse Mound,” a bit in the Boos overview posts. The base location now is Second Life itself and not Earth (First Life), specifically Nautilus City, a prime Second life destination designed in a Phoenician style theme, and where I decided to locate my Boos Gallery for now holding the virtual rendition of the series. A meteor falls toward 12 Oz Mouse’s head from above, seemingly, while flying Baker Bloch looks on, perhaps unaware even of the meteor’s presence since it is above him a bit. Is his hand/arm also in danger of being hit? But certainly Fitz (12 Oz Mouse’s actual name) sees it judging from the expression of shock on his face. What happens when it lands? Fitz’s head becomes the meteor.

Similar to collage 05, collage 06 here presents a landscape anomaly. Hucka D. once again weighs in to claim that the terrain jut at Nautilus City’s main harbour area is actually suppose to represent Fitz, or at least his green oval torso. And specifically an image from the 12 Oz Mouse show where Fitz’s head gets hit by a meteor while he lays on the ground in a state of drunkenness. Well, he’s always drunk in the show. Hard to explain. But in the show the meteor really means nothing. It’s meaning translates to *this terrain jut* and even *this collage*, Hucka D. has more recently claimed. Once more, an image or event from “12 Oz Mouse” acts as a door into a parallel dimension; this has happened again and again now, and is especially vivid in the carrcasses. We’ll probably get back to that pattern soon enough.


Collage 07, “Head Brains”, is similar to collage 04 in that the base image is a still from a movie or tv show, in this case the 1968 movie “Head” featuring pop rock sensations The Monkees. This is, once again, audiovisual synchronicity related, a running theme for this section of the collage series apparently. In this case, an important juncture point in the synchronicity “Head Trip” is seen where Frank Zappa confronts lead Monkees singer Davy Jones, challenging him to spend more time on his music because the youth of America depends on him and his band members to “show the way”. Then the cow between them chips in by saying that “Monkees is the craziest people”.

An important statement, looking at it again, is Zappa saying that Davy’s song he just sang in the movie is “pretty white”, with Davy replying: “So am I, what can I tell you?” The audiovisual synchronicity “Head Trip” featuring this movie is all about the back and forth toggling between yin and yang forces, black and white, with the “Head half” (featuring Monkees’ *visuals*) being white and “Trip half” (featuring Zappa’s *music*) representing black. In collage 12 we’ll return to this concept. No Monkees music is heard in “Head Trip”. And this is the only time we see Zappa.

(continued in)

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Boos Interpretation 03

(continued from)



In the excerpts above we have two aspects of the “seed” from Boos collage 01 (“Bossmo”) and then Boos collage 02 (“Bixby Shuffle”), the same size in the pictures if we see the car in full length from 01. The twinned objects are also perpendicular to each other. We even do not know which one Oliver Wendell Douglas holds between his fingers in collage 04 (“Dirty Little Wet Seed”). It’s too small there for either a car or a license plate from same.

A license plate of a car acts as a unique identifier, another one-to-one match.

Perhaps GNIRPS can help us again here, since, after all, this is the mechanism that drove me to find this seed (Bixby-Buick-Boss triangle, etc.). There’s one Seed pop. place in the US:


Almost directly north of this place in Georgia (location seemingly reinforced by nearby Seed Lake), less than 20 miles away as the crow flies, is a community most commonly called Tate City but with a variant appellation of Tree, another rare US place name.

Tate City (aka Tree), a tiny seed of a village but with a large, developed sense of humor.



The pilot of a successful tv sitcom can be viewed as its seed, from which all else develops.


In the county between Seed and Tree in Georgia — Rabun — we also find place names Tiger and Persimmon. Wood from the persimmon *tree* was heavily used to make the golf clubs called woods before the popularity of metal ones. Nearby Tiger might then indicate Tiger Woods in this scenario, a very famous golfer whose surname refers to the club type, and thus back to the persimmon tree.

And then there’s also this close conjunction of names in another Georgia county called Johnson, already mentioned in the Sunklands blog.


We’ll get to more of Mr. Kite and his golfing ways down the road.

(continued in)

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Boos Interpretation 02

(continued from)


“Bixby Shuffle 02” is the second part of the animation. We now have clear evidence of a transformation through the door. Bixby is turning into the monster again. In the window, we peek into the future.

We know from former map analysis that the towns of Bixby, Buick and Boss Missouri are psychically linked in some way. For one, they form an isosceles triangle, with Boss at the apex. Bixby and Buick lie on the western side of Iron County, in the Dent Township. Boss lies a little over the border in Dent *County* to the west.

I was studying Iron County at the time of this discovery because of its close ties to the Bigfoot Art Event that just took place next to the Blue Mountain Urban Landscape. This art event permeates the Boos collage series through and through. The two main toy characters of the event, Taum Sauk and Mina Sauk, both take their names from prominent landscape locations within this county, or the highest mountain in Missouri and the highest waterfall in Missouri respectively (which tumbles off the side of Taum Sauk mountain). The root cause of this association comes through the presence of a full golf *iron* already located at the epicenter of the Bigfoot Art Event, before it even began. Then a second iron — but only a head this time — was found at the Plateau of Raw Art which acted as the main source of the event’s junk aspect. Like with the spool table, another object which plays a major role in Boos collages. I would soon locate another spool table in Tungaske which would directly link my Bigfoot with that artsy Canadian hamlet. And Tungaske itself is featured in almost all Boos collages starting with the 10th.

Back to the “Bixby Shuffle” animation: What is really going on here? Why have I been directed, it seems, to bore into this Missouri location; collage the elements I have into it? I’m almost positive it refers to my present work situation, which has changed in the past several months. I’ve relocated, in effect. *My* boss has been exposed to be… well, the proximity of Boss and Bixby (and Buick) in Missouri is not chance, let’s say. I’m aware of a similar shuffle in my own life. And this goes hand in hand with a mother situation. Pretty deep stuff for me.

But, for every positive, creative force, there must be an opposing, destructive one. This notion is doubly true in the esoteric world of Carl Jung, where all archetypes must, by necessity, possess a shadow self. The dark twin sister of the Great Mother is the Terrible Mother, a force of death and destruction. This archetype inhabits the world of the primordial instincts, and is frequently represented as sub-human or even animal-like in form. A good example of the Terrible Mother archetype is the black-skinned Hindu goddess Kali. Her eyes are described as red with absolute rage, her hair disheveled, and small fangs sometimes protrude out of her mouth. She is often shown naked or just wearing a skirt made of human arms and a garland of human heads.

For me, this seems to be a residue form. Escape from childhood joys and fears is difficult. I was surprised, nay *shocked*, that such fears still could possess me. I’ll leave it at that. But I’m sure that’s behind some of the art here. The hulk monster is intertwined with the Terrible Mother and the rage.



Moving on to collage 03, another animation, we have the reappearance of the rock house from collage 02 in its center. I call the work simply “The Rock”. In part 02 of the animation, we see that the Bixby shuffle is still in effect inside the house — the painfully green hulk has now *shuffled* over to the door, with Normal Bixby (human) nowhere to be seen.


And in the animation between the two, it is obvious that Mossman has become associated with The Incredible Hulk as well. He seems to be raging, like the hulk. But he is, according to my mythology at least (and, in part, the Heman mythology he comes from), a peaceful, civilized, highly intelligent being of pretty calm disposition. Within him, the turbulence is soothed; waves smoothed out. The storm is over. We will not see inside the possessed rock house again in the collage series.

The background for “The Rock” comes from Second Life, namely a Nautilus City shot highlighting my newly minted virtual gallery that now holds the entire Boos collage series. The rock house becomes superimposed on a rock in the Punic Woods just below the gallery (literally below, in the picture), which has been deemed mystical in much the same way as the Rubi Woods before it. The original background picture is here for a comparison:


Nautilus City will be seen in several other collages of the series coming up.

“The Rock” is easily the most reworked collage in the Boos series, forming in three phases at different times. As I touched upon in a recent post, it almost seems to steal some thunder from the end of the series. I think now some kind of jolt was needed to refocus the series on non-Missouri locations, or to bring Missouri into Canada, as it were. The guitarists to the left come directly from Tungaske, and they will “reappear” in the very last collage of the series. Canada (and Second Life) has come to the rescue. And Bigfoot.

And then also in the second part of “The Rock” we have Mossman being superimposed with the “3 Birds” sculpture seen in a number of my other collages down through the years now, starting in 2004’s Greenup series. Here I believe it represents the looped marble race of the Bigfoot event, a central aspect. Taum Sauk stands next to both Mossman and the sculpture, reinforcing a Bigfoot connection. His head swivels from left to right in the animation. His attention seems diverted to the next collage down the wall of the gallery…


… called “Dirty Little Wet Seed”. In this collage Taum Sauk seems to be examining the repercusions of Boss Moss and what his indicating finger is pointing to. We already know that this small gray square is a car from “Bossmo”, but duplicated as a *license plate* on the same car in “Bixby Shuffle”. This is the seed referred to in the title. Green Acres’ Oliver Wendell Douglas seems to hold it between his fingers. Douglas is actually talking about a hypothetical seed in the culled screenshot from the show — more tv shows.

If we google the phrase “dirty little wet seed”, we find the the show in question: “Oliver Buys a Farm”, which is also the pilot for the popular 60’s series. Directly related quote, then:

Oliver Wendell Douglas: I’d take a little seed, a tiny little seed, I’d, I’d plant it in the ground, I’d put some dirt on it, I’d water it, and pretty soon, do you know what I’d have?
Lisa Douglas: A dirty little wet seed.

Full script of the show is here:

I won’t go into this much but that particular episode is used as a core video source for a 2012 carrcass, or Carrcass-6. 12 Oz Mouse acts as the main glue for this particular audiovisual synchronicity, which I’ll add because its characters also appear in the Boos series. Green Acres folk will not put in another appearance, however.

(to be continued)

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