Category Archives: Rubi

Carr.:

One on one tonight, eh? Well, just glad you selected me to be town deity. Very glad to be of service to you. What can I do for you tonight?

BB:

I’m afraid The Woods may be closing up when the heat arrives this week, Carrcassonnee. Bigfoot I’m mainly talking about here, because that’s about the only place I go these days. Whitehead Crossing seems to drain me.

Carr.:

Oops. I just realized I’m missing a lunch engagement. Kerch again… doesn’t like to be kept waiting… makes him grumpy, especially if Alice isn’t by his side. You understand. Ta-ta!

BB:

Hmm.

(Baker Bloch’s surroundings fade out. He’s back in the white nothingness. Hucka D. appears.)

Hucka D.:

Howdy baker!

bb:

Howdy Hucka D.! You still advising me as well?

Hucka D.:

Kind of. Best to have a physical setting for the pep talks, however. Carrcassonnee’s up for reelection this year. Might be up for a run at the seat myself.

bb:

Town deity.

—–

So Hucka D. begged off as well. It’s just me… and me. Well, I’m just trying to figure out what to do with the Table House and Collagesity as a whole. A couple of months back now, I decided that this would be my permanent Second Lyfe home, and I was finished moving around. Mainland’s just not worth exploring any more. Maybe what I call VHC City (on The Diagonal) has some more stories to yield. I suppose Nautilus City has more tales, actually. I was going to move a small part of Collagesity there last fall in an attempt to downsize (see also: Mystenopolis from last summer). Baker Bloch is an explorer at heart, after all, his forte.

But now the summer heat has arrived I must shift back, in real life, to exploring the Blue Mountain Urban Landscape, like I did this same time last year. And, sure, I can keep returning to Bigfoot (just outside this landscape). I have a couple more pictures to share from recent visits. A toy happening didn’t, er, happen this spring however, although I moved some new junk from the Plateau of Raw Art into a developing area of Bigfoot which, for now, I’m calling Chester I think, a hidden center. I could make a map of the area, true.

The main path I take to get to Bigfoot can only be used after the leaves come out on the trees in Blue Mountain, which means mid to late April, usually. Summer is arriving earlier that when I was younger — global warming in action, I suppose.

When the leaves come out I can also explore more around the Bigfeet Swamp, since I am more protected from prying eyes of others living just opposite Leola Creek. But at the same time poison ivy and underbrush limit me in other directions. So for Bigfoot, the arrival of spring and summer is a give and take in terms of poking around. There are probably narrower bands of time in mid to late spring (say, mid April to late May) and then in mid to late fall (like mid September to late October) where I could comfortably create happenings there.

So developments *did* happen in Bigfoot this year. Must remember that. Not sure how much junk remains to be cultivated at the Plateau of Raw Art. I could move more junk in myself from outside.

But back to Collagesity — I’ve set up the Table House last week, I believe, but haven’t done anything with it. I don’t have the “Art 10×10” collages set up anywhere in Collagesity presently. The Toxic Art Gallery use to sit on the same spot as the Table House, but I deleted it to free up prims when I was writing (and staging) “Collagesity Winter 2015/2016”.

And while I’m on the subject, for anyone trying to tackle reading that “book”, I’d suggest starting 1/4th the way in to see if the subject grabs you, or at the section called “Ancients”. That’s where the myth making really picks up. It’s not a standard, linear plot. Not really. What I might do soon is just take notes on it and prepare a type of lengthy interpretation, like I did for the most recent collage series coming just before it (Boos). Perhaps Hucka D. can help me with that.

Another project I really need to talk about is The Table, intimately tied to The Table House but without a developed story yet. The Table itself is very real, however. As I’ve done with maps this spring (moved info from old master atlas to Google Earth to create a new master database) I may now attempt the same with The Table and attached carcasses. All carrcasses before 2008 have been protected. But that still leaves a lot created beyond that in a danger zone. The theory goes that if I had a good enough Table or “tile database” standing behind each individual work, that I could re-create it without too much trouble.

There are two tables which are one table, or the smaller and earlier “Lesser Table”, and then the complete whole I call the “Greater Table” in this scheme. Lesser Table covers the years from “Dark Side of the Rainbow” and “The Rainbow Sphere” (collectively called “The Rainbow Complex”) up until “SID’s 1st Oz” and a little beyond. The works within, slanted toward the Pink Floyd related ones (like “Dark Side” and “SID”), are unfurled in The Oz/Floyd Paradox Document from 2003, written after the creation of “SID” in late 2002. The Lesser Table contains a 100 or so audiovisual tiles, if I remember correctly, about a quarter of which can be found in “SID’s 1st Oz”. The Greater Table contains way over a 1000 at present count. This is a large undertaking.

Where to start? A number of synchronicities, especially the larger ones, have never been completed. The *tiles* are there, but have never been totally fitted together in a single work. The problem with the larger works, like “4orrin1” from 2005 (my first foray into a full platinum tiling synch — get to the levels in a moment?) is that they’re just too sprawling to gain intellectual and emotional control over. As I at least hint at in my interview by Karl Tune last summer, it was as if “4orrin1” came too early, too close on the heels of SID’s 1st Oz. There’s a natural progression from “SID’s 1st Oz” (26 tiles) to “Billfork” (32 tiles) to “Head Trip” (47 tiles) to “4orrin1” (*180* or so tiles), but the step was just too large for the jump between the latter two. In the next run of synchronicity from 2006 and 2007, my peak years of creating such things, I made a similar progression up to another large work that probably even eclipses “4orrin1” in scope. I call this work “1 Pink”, and it may also be my best overall work in this field, along with another called “Peewee Big” coming just before it. All works after that have been composed on a lesser scale, containing tiles that number between Billfork’s (32) and Head Trip’s (47). But at the same time, the works starting in 2010 are more linked to each other in succession.

I think the creation of new collages has stolen some of the energy from new audiovisual synchronicities, which are, after all, collages themselves of disparate audio and video sources. To continue in a/v synching, it seems I must make another jump into the realm of digital production. The philosophy behind tiling must be refined.

Also, “The Shining” represents a kind of omega point to the beginning seed of Oz and The Rainbow Complex. I’m not sure I’ll find another movie quite like that one — unique. Like “The Wizard of Oz” in a very different way before it. And it’s really cool that we have “The Shining Forwards and Backwards” experiment that *isn’t* my creation but piggybacks upon the same kind of excitement and energy. “The Shining” changed things. This is “Carrcass-10”, which has, er, replaced it??? 10 is perfection. Spongeberg understands now.

Carr.:

… but not for a while. What happens after Midnight? 12:01? 11:61?

BBlinker:

Not sure, Carrcassonnee.

Carr.:

And then The Purse, which has a minor history of its own. You, through Baker Bloch, found the purse on The Moon. Gypsy Purse… that’s where all that got started. Here let me dig up a link again. Do you remember?

BBlinker:

Yes. Kind of.

—–

Hiking OI1 North, 3 *And* 1st Wide Shots of “The Moon”

—–

BBlinker (after reading again):

I had forgotten most of that through Baker Bloch. The male and female pose balls are obviously Karoz and myself.

Carr.:

Me. My. Myself. You defeated Me/My/Myself. Did you? Do you know who I am?

BBlinker:

I think so.

Carr.:

I am a shapeless blob, almost.

BBlinker:

Nah, you look fine, Carrcassonnee.

Carr.:

So if anyone asks, that’s where you went. You went back to that *distant* Otherland island to see if you could find the purse again. That way you become Gypsy Purse to Karoz’s Grassy Noll. The pair is set in motion, first Adam and Eve and at the end Romeo and Juliet. Poison. Midnight. But that’s a long way off still. Years and years. 5 or 6 to be exact. If we’re lucky.

BBlinker:

I’m also remembering through this that Karoz is from The Moon the purse is from. He was raised by gypsies before given to Sapphire to become his precious Aquamarine, as we like to say.

Carr.:

We do.

—–

Chat…

“Hucka D.?”

Hucka D.:

Yeah?

bb:

I may have some questions about The Moon? Pluto; Moon?

Hucka D.:

Right.

bb:

Gypsy purse… that’s obvious. And Grassy Noll or Knoll… that’s the knoll next to the purse I assume.

Hucka D.:

That would be correct.

bb:

Could it also be the other side of the planet/island?

Hucka D.:

Might be. The Trees.

bb:

Right. Thanks for the prompt. So the trees represent male and female energies. Like a battery?

Hucka D.:

There is excitement between. Energy. Generated. Crash and thunder.

bb:

Looking at this picture again, I’m assuming the trees must be Grassy (Noll) and Gypsy (Purse) respectively.

Hucka D.:

Energy.

bb:

Tesla?

Hucka D.:

You’re on a path.

bb:

Thank you. I think it’s obvious that the concavity [Baker Bloch stands in] is overlappable with the purse as well. Concave hole and convex knoll, then.

Hucka D.:

Purse is a curse.

bb:

I thought that Baker Blinker was cured of her own curse [if that’s what you’re talking about].

Hucka D.:

Green. Red. RS7. Blue. Videotape. Red Verses Blue. Rooster. Teeth and Springs. Man/Woman. B. Hayes and not Booger Haze. Winesap. Beaver City. Ask the Quadrobeavs.

bb:

Yes, thank you. I was just reading their fascinating philosophy today in Paradox II: The Chancelling. Let me review that again please.

[pauses to read]

*****

This one quote, “It [the eclipse of the sun by the moon] represents the eating of the masculine day and year by the lunar month.” Pretty deep stuff there, Hucka D. Or is it?

Hucka D.:

Paradox. II.

bb:

This has directly to do with TILE. Time into TILE.

Hucka D.:

You must lift the veil. But you can’t.

bb:

Ok I’m reading further. So the sun swallowed by the moon was obviously seen as coitus. The voiding of the “1” by the “O”, or, in the terms of the island/planet, the knoll by the hole. Whole… hole.

Hucka D.:

You must start a new mythology.

bb:

The “1”, or, I suppose, the missing “1” in the “0” or void… this would be TILE. The Tile Creek.

Hucka D.:

7 reverts to 6. 6 converts to 7.

bb:

The father is Jethro. As it states in Paradox II, the mother would logically be seen, perhaps, as Jethrine, but it is instead Fredian. Two Queens in one, to match the singular King [of Jethro]. The outward “1”, which is the phallus, causes immediate limitations for the King, although he remains the center because of it. The inward “0” cannot be the center but is relatively unencumbered in contrast. This is like the solar system [limited by centrality; Sun] and Universe [black void outside the solar system; relatively unlimited but without center]. This is like 3-d over 2-d, but a 3-d that does not exist without first being 2-d.

Hucka D.:

1161 is next.

bb:

This is a 12 hour period, or 1/2 of a whole day. 1/2 of a whole day can be either dark or light, equalized at the equinoxes of Spring and Fall. Green and Red. Um…

Hucka D.:

Blue is Winter Mother. Yellow is Father Summer. Night; day. Darkness; Sunlight. Azure Blue. All these together are TILE.

bb:

I’m curious why the Quadrobeavs see the Universe as starting with the number 11, or what they called 011. 011-061 is The Moon and 111-161 is the Sun. They are joined directly together. I can’t remember what the significance of that is, though.

Hucka D.:

The “0” is the Void and the “1” is the Center in the middle of the Void. They are or should be lovers.

—–

BB:

This is foreshadowing in the best Shakespeare style. I knew immediately that this was Grassy’s [aka Karoz’s] moon when I saw the purse. And the purse is from *The Moon*, the very same moon of Maebaleia that Gypsy was from. How could this be? It is influxed from the future[ into the past]. When Karoz flies to Second Life’s Moon later on, he finds it to be fake, and only its own moon is real (Moon of Moon). This is Illusion Roostre. It still revolves around the Moon of The Moon. The Marble.

“I’m glad you decided to join me tonight Karoz.”

BBlinker:

Karoz is not here. Here, I’ll turn on the light.

Carr.:

Leave it off. No need to manifest directly. We’re in the whiteness, then. Have you ever been?

BB:

Through baker b. I have, of course. Where’s my old friend Hucka D. or Hucka Doobie? He doesn’t seem to be around.

Carr.:

Listen, you are the secret leader now, the center, the hub. How does that feel for you?

BB:

I am The Marble.

Carr.:

Yes. Karoz and you went to the distant planet of Muff/Birmingham to buy a purse. That’s coded into maps. Coder is in the next county over. Corsica. Coder. Crates. Content, which kind of stands for Continent but kind of doesn’t too. The Apollo style Moon landing is over, along with its own Moon. What next? Well, Birmingham was obviously next. The purse. I’m going to put some maps that apply into my blog.

BB:

Your blog, eh?

Carr.:

Yes. Hold on…

Carr:

That one shows the inevitable confession about Bigfoot to [delete name], and the block in that direction. No, baker b. must still head to Ashville Middletown in his body and mind. But Bigfoot there represents both Bigfeet Swamp[ and accompanying Bigfoot “community”] and the Bigfoot race itself. Bigfoot [community] was given/created to/for baker b. to keep him out of trouble in the larger woods, let’s say.

BBlinker:

Frank and Herman Parks.

Carr.:

Yes. More Frank Park and even including Whitehead Crossing. That’s *their* territory. That’s their art happening, let’s put it. Bigfoot was given to baker b. Bigfoot was *created* for baker b. It’s his special place. It’s Whitehead Crossing-like without the big hairy creatures hanging around all the time. Baker b. is happy with this arrangement. He was at the table for it, after all. Spool table table? Dunno (answering herself).

BBlinker (pause):

Okay. Good. Then Bigfoot does not include Rediscovery, because that’s on the other side of the shared ridge and perhaps infested with bums. But that, ironically, was baker b.’s “home” in the past, where he had his teepee. They’re camping *right* on the same spot.

Carr.:

Baker b. is coming through you, good. You *are* baker b. You just have to remember.

BBlinker (confessing):

Karoz wants me to forget I’m baker b.

Carr.:

Really? I haven’t heard that. Let me check the script to see if I memorized my lines correctly. Hold on… here’s another map while you wait… we’ll talk about it in a moment.

—–

BBlinker:

I can’t see anything yet.

Carr.:

Never mind. It didn’t work out. But the purse has a history. It’s a little important but only for safety for the b. It’s Distant to The Moon. Inbetween is Mars and Neptune. Did Karoz go to those on the way to Muff/Birmingham? Oh, we can provide some 12 Oz Mouse information to the reader or readers. Wait again. Sorry.

—–

http://www.gutenberg.us/articles/list_of_12_oz._mouse_characters#Birmingham_.2F_.22C._J._Muff.22

Not much is known about the mysterious Birmingham. He has been mentioned several times in the series, most notably in “Spharktasm”, when Fitz questions Roostre about him. Roostre says that Birmingham is the guy he told Fitz about the night they got drunk (episode 103), and that he also goes by the name “C. J. Muff”. He has supposedly quit something called Q109, which may be a secret organization that Fitz and Roostre worked in.

In “Farewell,” Muff reveals himself to Liquor by leaving the spider’s body and taking the form of a big ball of energy. This event was hinted at by the earlier Arachnid Xenomorphintation reference and also Roostre’s observation to the Spider, “I know you.” He is concerned with stopping the asprind harvests, and sends Liquor to go find Fitz to achieve this.

https://en.wikipedia.org/wiki/Talk%3ACharacters_of_12_oz._Mouse

—–

Carr.:

I’m back. Sorry once more.

BBlinker:

That’s okay (reading)… so I forgot Spider is actually this C. J. Muff in disguise.

Carr.:

Yes. The Skies. You need[ to put on] a spider because you’re poison! (laughs)

BB:

Midnight.

The deaths of Romeo and Juliet occur in a sequence of compounding stages: first, Juliet drinks a potion that makes her appear dead. Thinking her dead, Romeo then drinks a poison that actually kills him. Seeing him dead, Juliet stabs herself through the heart with a dagger.

Carr.:

And now, just you two.

BBlinker:

Are we being punished? Cast out of Eden?

Carr.:

Of course not.

Karoz:

Good. We’re doing nothing wrong.

Carr.:

No. But I still want to see the purse. How much did it cost?

BBlinker:

Um, I want to say 250. 250, Karoz?

Karoz:

Can’t recall.

Carr.:

It’s very pretty purse, Karoz. Worth every scent, I’m sure. Do you think Baker Blinker has completely become Gypsy Purse now to your Grassy Noll?

Karoz:

Dunno Carrcassonne.

Carr.:

I want to prepare you for the midnight hour.

BB:

Okay.

Carr.:

It will not happen anytime soon. How to put this. The Linden’s created the Rubi Woods and it is better than newer and supposedly improved woods. Avatars are the same way. Avatars are different from real life people. It’s a different type of… What I mean. Oh go ahead and let’s see the purse, Baker Blinker.

(Baker Blinker shows Carrcassonee her new purse purchased on Birmingham)

Carr.:

I heard the other side of Birmingham didn’t work out as well. Didn’t “stand out”, hehe.

BB:

Not yet.

Karoz:

No.

Carr.:

And what about that object Baker Bloch hid under a rock at Bigfoot that was in the middle of his path when he returned. They are watching.

Karoz:

They are watching through his eyes. We, Baker Blinker and I, are upset because there’s a rival to our affections.

Carr.:

Me.

Karoz:

Yes. My.

Carr.:

Well, what do you think of that? Baker Blinker is a marble.

Karoz:

Yes. Perfect in and of herself.

Carr.:

Go in that direction. Keep exploring the distant planets. Keep being Apollo astronuts and just do it.

BB:

It’s how we[ Baker Bloch and I] coordinate. We keep heading toward the marble.

Carr.:

That’s a most distant planet still. That’s Midnight. You must pass 1923. It will take a while still. Any more questions? You know I’m here for the two of you when you need me.

Karoz:

Thank you. I will help Baker Bloch with the forest study. That will be my new study as well, along with preparing the Edwardston Station Gallery memorial. I’ll move my college science stuff out. We must move forward.

BB:

Where do you see it going, Karoz?

Karoz:

Hidi.

Carr.:

Ahh, Baker Blinker. Howdy!

BBlinker:

Hi Carrcassonnee. Thanks for the invite.

Carr.:

I do not want this to be an all boys club. Even though I’m a girl myself.

BBlinker:

Us girls gotta stick together.

Carr.:

Right. Not be treated as just objects.

BBlinker:

Okay.

Carr.:

Does it bother you? The object part? (Baker Bloch stares over at her)

BBlinker:

I get something out of it too.

Carr.:

And of course Karoz does as well. I forgot to ask how his trip to the distant planet of Muff was, also known as Birmingham. How did it go, Baker Blinker?

BBlinker:

Well. Success. Better.

Carr.:

We can talk about such things here. But… well, you know.

BBlinker:

Yes.

Carr.:

Baker Bloch must focus upon you, Baker Blinker. No, that’s not what I meant. Karoz and you must remain a team. Yes.

BBlinker:

Yes.

Carr.:

It is okay to keep going out there, exploring more planets. Distant planets again. You can explore that; Baker Bloch can explore his stuff. Forest and shut. How’s that going, Baker Bloch?

BBloch:

Good Carr.

Carr.:

Do you have any further questions tonight? I’ll be here all week.

BBloch:

I’m a little concerned about Karoz.

Carr.:

That’s why I brought Baker Blinker in, or one of the reasons. Baker Blinker, being you as well, can explain to Karoz better what’s going on with the college. The “Art 10×10” is important however, a core. Karoz can instead help you study the woods. Collagesity is about art, and not science per se. Pursy? Where’s the purse, Baker Blinker? I’d like to see it.

BBlinker:

Later.

BBloch:

And what of your old friend Dr. Mulholland?

BBlinker:

Not needed, apparently.

Carr.:

Baker Blinker is complete unto herself. She is[ a] marble. She is the first of her kind, which is third. She is really going beyond avatar. It’s really amazing to understand. It is developing in the way we could as a town while other things were going on. And now you, Baker Bloch, are safer.

BBlinker:

Yes.

Carr.:

It’s in Florida[ really]. Baker Block Museum, Mary Baker Eddy, Clarking and Kent, and then Lennon-Beetree, Adam and Eve of course, and then Romeo and Juliet. Star crossed lovers. Soon Your Second Lyfe will end, and the avatars will end along with it. What then? No, keep on developing in that direction. It’s your fate. Midnight.

Carr.:

My 2 boys. I would like for you to make town decisions together, before putting things up to a general election. I understand something could be in store for the Norum College, Karoz. Baker Bloch: have you told Karoz this yet? Is this a good subject to bring up now?

Baker Bloch:

Sure Karoz, er, Carrcassonnee. Karoz (turns to Karoz), I was thinking of… well, you know the Art 10×10 isn’t presently exhibited in town, but I still have a representation of the gallery over near the Kerchel Forest, the traditional or original “cube” version.

Karoz:

I’ve been there.

BB:

What we… um…

Carr.:

He wants to turn your college into a memorial Edwardston Station Gallery and give a link to the Art 10×10 over near Kerchel.

Karoz (calmly):

What about my college?

Baker Bloch:

I don’t know.

Carr. (quickly, and in partial unison with BB):

We don’t know.

Karoz:

Can I say “no”? Do I have a voice in the opinion.

Carr.:

Baker?

BB:

Of course. If I make this Edwardston Sta. Gallery memorial, then all my digital collages would be clumped together in galleries in the east side of Collagesity, all except for Boos.

Carr. (admitting):

We’re going to have to do it, Karoz. Once Baker Bloch gets an idea in his head, that’s usually it. It won’t be hard to set the college somewhere else. Tell him about the other changes, Baker.

BB:

The Table House is, of course, back, and near the center of the village, in the shadow of the town tower.

Carr.:

A representation of the Rubi Woods will be upstairs. It will be The Table itself. But the table behind the table… how’s that going Baker? Baker Bloch?

BB:

I haven’t worked on it much lately.

Carr.:

That’s next (smiles).

BB:

Cool. I had a talk with [delete name] today… realized the map synch with his name was… has more depth. Told him about my contact in the woods from early 2013. Frank Park I’m talking about here, and not any virtual woods.

Carr.:

Tell me Baker Bloch. What *did* you encounter?

BB:

Bigfoot, I think. But a psychic Bigfoot more advanced than me.

Carr.:

Far more advanced in ways, yes. That is their territory. Your art and their art are not quite compatible. What *is* your art?

BB:

Process art: toy happenings. In that direction.

Carr.:

They are observing Bigfoot [Swamp], as you probably guessed. It is your territory, but they still monitor progress there. They know and saw what you hid under a rock there.

BB:

Okay. Is that okay?

Carr.:

Kind of. They set it up for you. They think you owe them a thanks. It is a special, beautiful place. But it is totally artificial and set up. Not like Whitehead Crossing. Or is it exactly like Whitehead Crossing, hmmm.

Karoz:

Can I go to Bigfoot?

Carr.:

No Karoz. Not yet.

Baker Bloch has his nice house set up next to the Rubi Woods and is exploring the forest again. Nifty! First up was the examination of First Square, which has been heavily encroached upon by Collagesity. First Square is one of forty such 32×32 meter squares in the forest (1024 square meters). Baker Bloch has already examined each and every one of these squares during our last stay in Rubi, in Nov-Jan 2013/14. 2 1/2 years back now. More info here LINK. First Square, then E8 (see below) is described at the end of the first of five posts on this subject, one for each “row” of the forest.

First Square

In old nomenclature created in Dec. 2013, First Square was labeled E8, and placed in the complete opposite corner of the Rubi Woods from A1.

Old Layout

In new terminology, First Square will become A1, with columns and rows numbered/lettered backwards from before.

New Layout

Actually, the new grid isn’t official until the town votes on it, which will be soon. And then another update perhaps related to this: the Table House has come back to Collagesity, replacing the World of Collage building itself only recently moved to make room for Baker Bloch’s forest side Victorian home. Will Table House act as the new town hall? Could very will be.

Table House (center)

Another part of this plan is to disburse collages formerly exhibited in the World of Collages building throughout the village. The town diner could use some additional art, for example.

… Baker Bloch’s back next to the forest, dwelling in this fine Victorian home (Home o’ Fibs, etc.). We’ll see how it develops.

There’s been a bit of recent activity in Collagesity for a change. Baker Bloch wishes to live next to the Rubi Woods again. I can’t blame him. But in order to do so, he’ll have to move the World of Collages building elsewhere or just delete it. Taking over Baker Blinker’s Gloomy Gus residence is not an option. She is DeQueen to his King. But they’re more brother and sister than married. Totally. Karoz is Prince? Haven’t quite figured that part out. Maybe Baker Bloch should just sit down and interview him. He’s very pivotal to the town’s future well being and survival. He states a strong relationship with Other Baker (his pet nickname for Ms. Blinker) is the bedrock. Bedrock?

—–

Carr.:

You guys are still friends?

BB:

Of course we are, Carrcassonnee.

Karoz:

Yes.

Carr.:

Karoz doesn’t sound so sure. Speak your mind buddy. Bud.

Karoz:

Other Baker will not give up Gloomy Gus. We are The Invisibles.

Carr.:

Yes. New nickname. The Invisibles. Yet Baker Bloch also desires a residence next to the forest.

Karoz:

Give him back his castle. You can do that, correct?

Carr.:

Suppose. (turns to Baker) Baker Bloch, what is your mission from here on in? Or out.

BB:

To study the forest. To coordinate forest and town; native and artificial; wild and cultivated.

Carr.:

What role does the Moon of the Moon play in this? Is Da Moon, it’s original owner, still destroyed?

BB:

Yes. Think so. Isn’t it Karoz?

Karoz (not speaking directly to Baker Bloch):

We need to explore other worlds. Mars. Beyond. I am planning a ship. (he finally turns toward Baker Bloch). Any volunteers for pilots?

BB:

Sure. I’ll go.

Carr.:

No, you need to study inner space. The woods. The woods are the most interior part of Second Lyfe now. Let Karoz explore Space space.

Karoz:

Okay.

Carr.:

You won’t even know you have a neighbor, Baker Bloch. I’m sending Karoz Blogger back into Space. I’m sending him to the distant planet of Muff, also called Birmingham. Do you know the place?

BB:

No.

Carr.:

As you shouldn’t. It’s Karoz’s personal Space now. Let’s listen to one of Roostre’s explanations of Muff/Birmingham. Up we go!

Carr.:

Let’s listen to another one. The Master leave any popcorn around here?

—–

LATER….

“What did you expect? It’s him, ahem, *her* after all starring in it. She likes to watch herself in that role. She says it’s her finest moment, possibly.”

“Potentially,” replies Karoz. “But *eight* hours?”

“Where are we now, Karoz? The Bible?”

He looks around at emptiness. “I don’t know.”

A world manifests around them. “She’s gone!” Baker then exclaims to Karoz.

Karoz walks over to the empty, grassy mound. “I could do this,” he thinks to himself.

Carr (suddenly reappearing):

Karoz is gone from you, Baker Bloch. Go to the forest. God to the Woods. Rubi and Sylver. Apples and Oranges. Isn’t it good.

Good enough?

(joined in progress)

“… I wanted to be a seed but instead The Table was born.”

Carr:

Hucka D. will come in later. I hear the Lesser Table will come before the Greater Table. Did I hear right?

BB:

I suppose so. That would be the line from Dark Side of the Rainbow, the seed of sorts — what I mean there for the seed is the Rainbow *Complex*.

Carr.:

Cool. I know what you mean. And SID’s 1st Oz is the endpoint of the Lesser. Well… you better get to it. Maps is over.

—–

I realized something about Arkansas and Opal and Waters to Pine Ridge. That it was a transition from Barrett and his Dark Star and the “a” to the end of Waters’ “Music From The Body” and the long tile “b”. “A” to “b”. Give Birth to a Smile. “C” and “d” are Queen and then Tull is “e” to end it [SID’s 1st Oz]. Tull is Tyle throughout the whole thing. Silver Cord. That’s a big [Arkansas] clue. And then Rubi and Silver in [Mont.] Co, just like Dorothy’s silver slippers in the book were changed to red in the movie(s).

Something about the Sylver Forest changing/condensing into the Rubi Woods…