Category Archives: United Kingdom
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The Sunklands site plugs along! I am very fortunate to have such a creative center. I plan to retain it into the foreseeable future. No problems here.
This will always go hand in hand with the Sunklands web site now. I’ve been blogg’n for 8 1/2 years. I love it. One of the problems for someone looking in is the multitude of subject matter. There’s woodsy reality, there’s viritual living, there’s fiction… lots of stuff. But add it all together and you get artsy me.
Bread and butter stuff, again. I’ll keep collaging till the day I die most likely. The idea of series will keep evolving. I’ll most likely always accompany collage creation with attempts at interpretation. The last coupling of collage and analysis is through the Boos series from last fall, which I consider perhaps my most unified and fulfilling effort in this direction to date. A new series has yet to form beyond it, but I’ve been busy with other art.
The base series of my modern or mature collages remains the 20 part Greenup set from 2004. Seems like a really long time ago now. Before that I more sporatically worked with the old time method (to me) of cutting images out of magazines and pasting them together. But I probably won’t work in that way again. Digital collage is more my style. I’m not worried about the selling aspect, and create them only for the purpose of pushing the boundaries of the genre itself in a certain direction. They are “educational” in my eyes, although I’m not against selling *specific* examples in the future (just not whole series, perhaps).
The progression of synchs started in 1997 with the first steps toward the idea of a Rainbow Complex beyond just the “mere” Dark Side of the Rainbow, a gateway synch for certain. To me, it was the birth of rainbowology, which I haven’t really written about all that much yet. Oh, there’s been some pretend interviews with the likes of Booker T. and Pierre Schaeffer (actually alts), but I’ve chosen to keep certain key elements hidden until I figure out what to do with the concept as a whole.
But that’s just the start. Synchs continue to this day, though creation has slowed recently to about once a year. I may even be at a longer pause currently. I’ll have to talk to Hucka D. about this soon.
baker b. separated from alt Pierre Schaeffer in 2004 with the creation of the former’s Greenup series. At roughly the same time came the latter’s Billfork, Head Trip, and 4orrin1. 4orrin1 especially blew the lid off what I formerly thought an audiovisual synch could be. It remains blown.
Latest in this category is the blandly named (on purpose) “Collagesity Winter 2015-2016” fiction — it’s actually what you could call a graphic novel set in Second Life (and its “moon” and also the *moon* of *that* moon). A next project could involve interpreting this fairly large work, like I do with my collage series. It falls in line with other fiction I’ve developed in spots down through time, the first successful one being perhaps “The High Octave Story” from way back in 1986 or so (rewritten in the early 90s, if I recall). Then along the same lines we have “Jordan’s Rule” from c2001, and then also the larger “Paradox II: The Chancelling” that came along late 2005/early 2006. I need to finish that off… technically it could probably be called a hybrid work as well.
Looking at other hybrids on this page, “Map Synching Feeling” is an interesting experiment with map oddities; “6 Weeks of Shining” combines collage work, map research, and elements of audiovisual synching, tied together through Stanley Kubrick’s film “The Shining”; “Baker Bloch in England” represents a fusion of collage, fiction and virtual reality a bit in the style of “Collagesity Winter 2015-2016” (except set in “reality”/ i.e., England); 2009’s “Where are We on That?” is a good introduction to my original set of virtual characters, most of whom are still around (Baker Bloch, Baker Blinker, Hucka Doobie, etc.). Hybrids will keep being produced.
I continue to hold onto Collagesity, and certainly work on keeping it up paid off more recently with its use in “Collagesity Winter 2015-2016” mentioned before. But has it fulfilled its usefulness? One thing it’s certainly not is a proper archives for the collages (and synchs). The Sunklands site, established last summer, instead has become this… but I would like to keep a virtual town going along with the site, if possible. Second Life’s Collagesity remains a comparatively inexpensive satisfaction, I suppose, in this direction, but my guess is that in the future a virtual town will not cost as much, relatively speaking, and can be rolled into web site payments.
Another recent success story with the unfolding of the many Bigfoot dimensions. Polarity between Bigfoot Proper and Chesterton is involved, the two identified artsy centerpieces of the complex. Each has now been the site of a fulfilled marble race and connected toy/junk happening. Whitehead Crossing represents the other important woodsy center still, and lies on protected ground (Frank Park) in contrast to Bigfoot, which could go away with the snap of a finger. But toy/junk happenings may not ever really come to Whitehead Crossing, unlike what I thought before — up until maybe even this past winter. Bigfoot has taken over in this direction. Bigfoot may be temporary, but my attachment to Blue Mountain in general also is temporary now, as we plan to move to Middletown in 6-8 years. We have land there, we can set up a modular home with little maintenance for our old age, and Middletown is such a neat city with many creative plugins. I can’t imagine leaving Blue Mtn. for anywhere else in the U.S. of A., although *England* remains a possible final destination. But that’s a long story.
Back to toy/junk happenings. These will certainly continue beyond Blue Mtn. and into our Middletown existence. I’m just refining the process now; winging it as they say. And Bigfoot itself may continue into the future. I have the option to camp there even when living in Middletown, since we’ll be retired. And Whitehead Crossing, too, probably has long term value, if in a more abstract way and connected to local Frank and Herman Parks as a whole. But I don’t think I want to camp in Frank and Herman Parks. Too many aliens.
I’m glad that Hucka D. is starting to attend meetings with Carrcassonnee. Or should I refer to him as Hucka Doobie now? hehe. We’ll see how long it lasts. Short attention span that man-insect has! But I get the gist. Carrcassonnee’s diner is symbol of Hand Lake, as the larger TILE Temple that she originally inhabited in the newest version of Collagesity is Drink Lake. We know now that the two, in real life, are directly north and south of each other — as the temple and diner were (as well) in fake or virtual life. That’s another link or resonance. Further, both Hand and Drink are drinking lakes, and have a water plant nearby that also have a direct north-south relationship. Directly. Hucka D. has stated that a Fringe event has happened in the center of Hand Lake in past/present/future, and *caused* The Finger. Interesting theory. Carrcassonnee seems to back it up but unsure still. The rock in the Collagesity diner is supposedly owned by Peter SoSo, who may be the same as Fringe’s Peter. Carrcassonnee might even double for Olivia, as we’ve talked about before. LINK
If there’s something to all this, Reiden Lake must figure into the mix, a place linking the two realities of Earth depicted in Fringe….
I’m getting hints that Hucka D. doesn’t want me to talk about that much yet. So let’s go here instead: the image of a lake as a hand that basically seals up the whole Falmouth collage series, acting as an Omega element…
(The actual lake in the extended collage) is Tarn at Leaves near Stonetwaite. TaL is filled with algae, as I know Hand Lake is now when visiting midday this past weekend. Mr. Bean has become one with the lake or tarn; seems to be laying down on its shore and drinking from it or perhaps even drowning in it — becoming one with it either way. Same basic color. Then extending from *his* body is an upright map version of Lake Horton in Nauvoo, Illinois, a place famous for the death of Joseph Smith, prophet and founder of Mormonism. The lake contains a single island which is called Gilligan’s Island. And the lake is shaped like a hand of sorts.
Gilligan’s Island is another Omega Point.
(to be continued)
This central image from Collage 11 is obviously akin to 12 Oz Mouse from the first collage of the tetraptych, or “Animation Nation”. Both are multiple beer drinking animals of “X Brand” variety…
12 Oz Mouse is also found in the 3rd collage of the tetraptych (“Holey”), leaning over to stare at a hole. He leans the opposite way there from a drinking position. Is he sobering up instead? Seeing the hole that is his life as an alcoholic rodent?
Anyway, another thing to remark about is that the left part of the jackalope image above is cut off on the *center line* of Collage 11. Likewise 12 Oz Mouse’s hole is cut in 2 by the left edge of Collage 10 before this. The effect helps further unite the 2 characters.
The jackalope, or at least his head (her head?), has made one other appearance in my collages that I recall, and we’ve already reviewed it a bit in the last post here: Sam Parr 09. I’ll throw up the picture again. Or insert it in this post again, I mean.
And Karoz again appears in a collage with this animal. The jackalope wears the body in Collage 11, as it were, of Sam Parr Model (SPaM). The blue robot of the red-blue-7 Stones pairing perches on her shoulder. The antlers make a shape similar to that of Sam Parr Lake, whose outline appears in the center of Collage 10 (blue, coral like growth sprouting from wall vegetation). So the jackalope represents Sam Parr in multiple forms. The Falmouth Rabbit appears in the landscape below it, the central figure of Collage 11 and the focus. A smaller Karoz’s head indicates it by pointing and mirroring. In drafts of Collage 11, I had this little Karoz appearing on the foot of the drinking jackalope. Now the larger image of Karoz is all that’s left, but in both parts of the animation and in two different positions. He appears to fall from the wall, originally held by the cartoon homeless man from Aqua Teen, but somehow also turning around in the fall to “land” on his head, which is the same as the head of Scatman Cruthers at the foot of the wall. A surreal impossibility in other words — collage liberties. Much like a giant and small Karoz appear together in that Sam Parr collage: perspective distortion there.
The orange bottle and also the orange squares on the back of the truck behind him reinforce the association of 12 Oz Mouse in “Animation Nation” with the central orange jackalope in Collage 11. The orange is also reinforced in the multiple Meatwads in the same collage, but, moreover, the orange m&m to his above right, the one watching the Fall of Dorothy from the White House. Another resonance with the Meatwads is accidental: Part of his antler was cut off when I edited the overall animation — this would be in part 2. I left the mistake in because it seems to mirror Meatwad’s “hand” *extending* from his body in part 2 and touching Shake, simultaneously turning him into a Rainbow Man himself.
“Are we done with this one Hucka D.?”
Since Hucka doesn’t seem to be around this morning let’s assume we are and move into Collage 12, which is the last one of the Stonethrow series and called “Triumph of the Toys”. The Red Fox appears again, just like she did in Sam Parr 10 (coming after Sam Parr 09 just discussed above). This is probably a Peter Gabriel image again, balancing his appearance in the first collage of the tetraptych perhaps: Lamb Lies Down on Broadway’s character Rael, as opposed to Foxtrot’s anthropomorphized fox here. This fox represents an endpoint. The music from the album Foxtrot is used in a more recent synch I’ve named Carrcass-6. This carrcass also features video excerpt from 12 Oz Mouse, some of which is dubbed by the Foxtrot music.
Here we have part 1 of the two part animation that is “Triumph of the Toys”… there’s the red fox I’m speaking about against a rock wall in the mid-ground. Almost beside her is a green mossman with scepter in left hand. Above him is a giant Robert Plant of Led Zeppelin fame, head against the sky. He’s staring at another sky head, golden in color but about to turn red and erupt, as it were. A row of toy blocks is arranged in the foreground, spelling TOYS itself. Master Shake again looks on from the right, but he appears to be asleep in part 1.
In part 2 he appears to be jolted awake by Mossman, who has continued to move forward and is now standing on the toy blocks. His *right* arm has become transparent and extending, holding a multi-chromatic ball *triumphantly*. This is the triumph of the toys (whatever that really means). Hucka D. is still not here to help me. I’m going to make some guesses.
We’ve mentioned that the red fox of the present collage is also found in the last collage of the Sam Parr series also found in The Red Umbrella gallery: Sam Parr 10. Last collage reflects last collage in this way. And I’m also thinking there’s another resonance: I believe the fact that the 4 colors of TILE are found in that pile of objects that Mossman passes to his right on his way to the toy blocks — red, green, blue, yellow — also allows us to tie this into Sam Parr 10 in the similar 4 colors of TILE making up the stage to the left.
In particular, I believe the wooden shelves or whatever they are, covered in plastic in “Triumph” can be paralleled with the tiny studio appearing on this TILE surrounded stage in the Sam Parr collage. Does the passing Mossman then equal The Master’s charismatic religious figure Lancaster Dobb (source image for Sam Parr 11)? And does he champion TILE instead of The Cause, if so? The ball he triumphantly holds high in the air contains all the TILE colors in one, chromatic whole. His scepter has been switched from right to left hand in the process. The eyes in the formerly golden head of the far background, high on the mountains apparently, have erupted redness like a volcano. What is the triumph? Obviously this has something to do with the story of Mossman Gene Fade of Frank and Herman Parks. I don’t think Mossman appears in any of the other collages in the Red Umbrella, although he is found in other Collagesity gallery works.
Where does this Mossman get the ball? Did the fox pass it on to him? Or does it represent the TILE colored pile of objects he also passes by in moving from mid-ground to foreground? We have more questions than answers here. Why am I not surprised. We’ll have to wait until Hucka D. wakes up much later on to further our investigation, if needed.
The large orange m&m watches in alarm as Dorothy falls from the roof of the White House, as we’re calling it. But Dorothy is on the left side of Collage 10 (“Holey”) and the orange m&m watches her from the left side of Collage 11, the last in the tetraptych. He is associated with the Aqua Teen Hunger Force character Meatwad within, not once but twice. That is, we have 2 images of Meatwad in this last collage that are clearly associated with this m&m. For one, each of the 3 — Meatwads and the similarly colored orange m&m — appear beside Frylock, another Aqua Teen character.
As stated previously I call this one “Rainbow Men”. And again we have several images of African-Americans, each different from ones that came before in the tetraptych (IT Crowd’s Moss, and Sanford and Son’s Fred Sanford). And each are attached to their own Meatwad, actually. Let’s create separate pictures of the 2 in question, and examine the similar elements and then the more subtle differences.
These are in fact the Rainbow Men of the title. Each are away from the White House, perhaps even homeless. But neither are in their real existences. The black man leaning against the Quilt Rock is a professor. The black man in the grass seeming to lean against the fence is Scatman Cruthers laying in his bed in warm beautiful Florida, on a winter break from the Overlook Hotel of The Shining, clearly having fun away from that heavily cursed hotel. He should know better than anyone, given that he has a powerful gift of shining. But what are these transposed men, these Rainbow Men, doing here outside the White House? Each are accompanied by the same 3 Aqua Teen characters: Frylock, Meatwad, and Master Shake. Frylock appears closest to each, then Meatwad and lastly Shake. He is very white, gleaming shiny white almost. He represents a bigot, a racist, or just racism in general. He is the opposite of the rainbow, or the inversion. In his role here, he may thinking himself separate and superior to these Rainbow Men near him. The Shake near Scatman Cruthers remains pure and white in both parts of the animation. However, the Shake connected with the Quilt Rock African-American undergoes a change from part 1 to part 2. He turns into a rainbow himself. He becomes enlightened. This is post-Civil War thinking, where the loser flag is established.
Quilt Man’s Meatwad touches Shake in part 2, seeming to transform him into a rainbow form. Rainbow colored m&m’s tag along with the orange m&m on the left side of the collage, and then fall in part 2 just as Dorothy falls off the roof in Collage 10 coming before this. Both are *Rainbow Falls*.
The Contraption from a number of other collages in the last several years appears beside the rainbow spectrum extending from shake [below Meatwad]. This is again the rainbow. Who, then, lives in the house, the White House?
A past self, Hucka D. Me before the Civil War.
A good guess, and correct in its own way. Yet you changed. Book 3. The former rocket launcher was found to be sentient. Pope is born. The Beanstalk. And now Second Life has one of its own. And your Mythos has one of its own. You called it [delete name]. It became the center of your alternate US. It was a rainbow extension of something like Shake, a former unenlightened self. You latched onto it, it latched onto you. This is true freedom. Philadelphia.
Thanks for that information, Hucka D. (looks at Collage 11) And then we have an *actual* homeless man, a caucasian or white man this time, behind the fence that Cruthers seems to lean against. In part 1 he holds an image of Karoz, or perhaps holds Karoz himself. Although this is the name of a Second Life character, a brother and an alt to Baker Bloch, the name is a reverse form of Zorak, yet another Space Ghost related character. And his “outfit” still contains some elements of Zorak, just as Baker Bloch’s outfit retains even less subtle elements of Space Ghost. And Karoz appears in the Sam Parr series. Let’s take a look, Hucka D.:
You forgot to mention that the homeless man peering over top of the fence is another Aqua Teen character, a more minor one this time. But he is clearly homeless, unlike Cruthers, unlike the Quilt Rock man. They just give the *appearance* of perhaps being homeless in this collage. Why?
There’s a very interesting article about Cruthers’ role in The Shining, Hucka D., that I’ll give a link to here LINK. I don’t believe Kubrick was a racist, but he had a racist character say the “n” word in the movie, and in direct reference to Cruthers’ character (Chef Dick Hallorann of the Overlook Hotel). Because of this, Cruthers’ character becomes “My Nigerian Friend”.
The Fall is the fall of the old South, like seen in “Gone With The Wind”. Like the fall of the old Japan in “The Wind Rises”. But more the former.
Getting back to [Sam Parr 09], Karoz’s head is highlighted again. In the new collage his head, when he seems to be dropped from the top of the fence by Aqua Teen’s homeless guy, merges with the head of Cruthers below. [This is probably a symbol of stereotyping again.] In [Sam Parr 09], a green stream emerges from his head to his right. This is the stream that runs from Falmouth to Sam Parr. Karoz’s head contains wisdom. After all, he started up Sam Parr State College or at least agreed to become its first and only president. And he personally recruited Redd Foxx as one of the students. He desired a diverse student body.
“The yellow racist McCoy shows up with Patrick Star and Spongebob Squarepants in that picture we just looked at, Hucka D., but he shows up better in the Gilatona-Lis collage immediately before, taking place, er, in Devizes on the left side of the main crop circle territory, and southwest of Morgan Hill.”
We better get back to Collage 10. In Collage 01 of the Stonethwaite series — er, *Stonethrow* series — [the dog] Spider shows up again. Or previous. He appears on the bank before the Whitehead X-ing teepee, about at the spot you saw a snake this spring, harking back to the “I don’t like spiders and snakes song”.
Not really. Why is Spider[ in Collage 10] stuck to the house, like he’s magnetized to it? Since Patrick Star’s rock house is also infested with spiders, can we say this is Patrick Star’s home as well, this White House?
Let’s just say that a racist lives there and be done with it. We can return[ to this collage]. I’d like to talk about the very first collage in the Red Umbrella, way down in the basement near the front. That’s Sam Parr 01 (“2130!”). That’s the house at the beginning of the 4th Way, the mysterious new trail — unofficial — of Frank Park that makes a direct path into Whitehead Crossing, like the other three official ones. And where does it ultimately lead to now? That teepee. The 4th Way was built so that someone could more easily get to the teepee area. The same person or persons must have built both, along with putting those potted plants up in that fallen tree.
So you’re wanting to study why the first collage of the Sam Parr series ties into the first collage of the new Stonethrow series through this 4th Way.
I’m there on the balcony[ pictured in Sam Parr 01], after all. Spongeberg at the Whitehead X-ing teepee is Story Room and one more, the green one or mossy fellow. He is red, blue, green, yellow, as in the stars appearing on his sky night jumpsuit. Spongeberg is inside the teepee and outside sitting on Welcome Matt (rock) at once. He is in 2 places at once. He is the man who built the 4th Way, the teepee. He may have even built/purchased 2130 at the [other] end of this 4th. We must speak of Spongeberg.
Spongeberg is the same as Chuck, the yellow one of the Story Room rock group.
Hucka D. (after a pause):
But he is not me.
No. You instead live at Red Head. Close but not the same. (another pause) We can knock at the door but no one will answer.
You’re talking about the White House of Collage 10. The racist who lives inside will not answer. We cannot know who he
is truly truly is.
He is Wheeler Wilson. Or Wilson Wheeler. Truly.
The racist appears to be an X-ian. Worshipping a lily white Baby Jesus tugging at his queer yellow beard. At the same time 12 Oz Mouse leans down to examine a suddenly appearing hole that lies exactly between Collage 09 and Collage 10. We in fact only see the half of the hole shown in Collage 10. And we also know that Peanut is within the hole.
In an alternate reality collage.
“In Stonethrow 10, Patrick Star looks at the dog who you say is the same as Spider. In Stonethrow 01, Spongeberg looks at the actual image of Spider on a bank below the teepee. He sits on a rounded rock, quite similar in shape if not size to Patrick’s round rock home. He wears a jesters hat and belt to complete his night sky outfit. I think Spongeberg may have anticipated the images of Collage 10, Hucka D., in his own collage coming at the beginning of the same series. White House equals Whitehead X-ing Teepee?”
And [Spongeberg] has *stars* all over him (smiles).
And of course the name Spongeberg comes partially from Spongebob, Patrick’s best buddy. Hmmm.
Peanut died in a hole at the beginning of Carrcass-01, Hucka D., the first time we see him. And this is *right* before 12 Oz Mouse sees that same hole that’s now in Collage 10. The two *must* be related. This is where Peanut dies, this hole. Yellow Down.