Category Archives: Heterocera

Two Cities

Back in Collagesity, The Musician persuades Wheeler (a.k.a. The Painter) to watch a longer Youtube film by SL resident Zarrakan about the LEA 11 “Glass Jars” installation. To Wheeler’s mild irritation, he then creates a running dialog with the film, stating how the two examinations of the sim differ and how he did things better overall. Afterwards, Wheeler wishes to watch another suggested Zarrakan film about wrestling, one of her numerous physical passions, right up there with dance and exercise. The Musician waves this off, however, saying at one and 1/2 hours that particular video is too long, and states they should instead view a short animation that acted as partial inspiration for “Glass Jars” entitled “The House of Small Cubes”. Wheeler relents (my how she’s softened because of the most recent Assimilation!). She understands that continued development of The Musician is very important. Besides… well, never mind that right now.

—–

Back in VHC Town, The Musician gives “The Painter” back her time.

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Yellow and green (mysteries continue)

—–

And that is most definitely Wheeler.

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Say cheese

—–

“You really missed quite a lot at LEA11, Musician. Blackout Poetry… *music/sound*. You and your aural sensitivity. Such an odd condition for one who *makes* sound all the time.”

“I found a lot. I found enough. I had to get back to my music.”

Wheeler thought of the Harrison cutout but didn’t query about progress. “Where’s Art?” she asks instead. “Will she be joining us?”

“No, it’s not Art. Just an artist. Painter.” The Musician pauses. “Like you.”

Wheeler scratches her head. “Where’s our coffee? Service here is as bad as over at Perch.”

The Musician checks his watch, taps his fingers nervously on the round table. “Should be any moment.”

—–

“I hate to say it, but I’m just not a big fan of Second Life images in virtual art. People especially for some reason. Landscape’s better.”

“You just don’t like people period, Wheeler.”

“Suppose not.”

—–

“Should we go back?”

“Nah, she’s not going to show up.”

“Can I be The Painter instead?” Wheeler looked over at the slanted Musician.

He breathes out, relenting. “Oh all right.”

She sat silent for a moment, then: “What was her name?”

“Chuckey,” came the reply. “Yeller feller.”

“Hmm. So she’s you too.”

“Seems that way Wheeler.”

“It’s you trapped in that Ear Canyon. Camping at the top. Assimilation — full swing. I’m not who I thought I was.”

Well… we’re in this together and that’s a trap. Fact, I mean.”

—–

“I made it. So this is the spot.”

“97, 97,” says The Musician. “The poisonous violet-black building in plain sight. Towering over us at this point if I remember correctly. Yes, this is the point. And now… this picture. I don’t remember it before from this gallery, which has expanded into the territory formerly its back yard. What’s the name?”

“Um, ‘A Precarious Geisha’.”

“No,” replies The Musician. “The name of the gallery, not the picture. Hold on…”

“‘Finely Torn Id’, Wheeler,” The Musician says after remotely finding and then taking a snapshot of the gallery’s entrance.

“2015 for the painting’s date. This must be The Painter.”

“No,” says The Musician. “It was suppose to be someone else. Chuckey. Yellow. Head like Charlie Brown. Assimilation. Pineal. Pine cone. Fred Cone. Pineapple.”

“Hmm,” states Wheeler. “This (picture) must contain a code. I like the colors. It’s close to a picture of the other side of the wall. Where I landed when you tried to teleport me directly into this spot. We were on opposite sides of the wall.”

“Are you a geisha, Wheeler?”

“Why is it precarious?” asks Wheeler back, dodging The Musician’s question.

—–

“Look, Musician. A piano over there. Why don’t you disengage yourself from the wall and play us a tune. You said you had hundreds of thousands.”

“Hundreds,” came a muffled voice from inside the wall behind her. “Or maybe thousands.”

“Well play me something, then. How about that ‘Fire Ants’ you go on about when you’ve had a few too many. The one that literally blew the roof off Barney Rubleboro in West Virginia that summer. Coal *everywhere*.”

“Hold on…,” the muffled voice said once again.

—–

“Hmm. Wall again. And I had just turned yellow.”

The piano would have to wait.

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Ear.

“Well here we are Wheeler. Ear.”

“But it’s bar,” Wheeler stated, looking up at the sign.

“No… Ear. Like in hear. Ear is in hear.”

Wheeler puts her finger to her chin. “You’re thinking about the space. The Ear space. Like the space… well, that’s what you should be thinking about, then. You are The Musician, after all.”

Then it was back to the ledge.

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LEA11 01

The Musician gathering up gifts at Art Oluja’s LEA11 installation, entitled “Glass Jars.” Baker Bloch was warned about the opening of this aesthetic tour de force over a week back, but hasn’t visited the installation yet due to a lingering viral infection. New guy Musician was dispatched instead.

Um — wow! — this might take him a while.

Sticking to dry land for now, he quickly encounters a number of false windows suspended by cables surrounding an inlet of water. Water pours from the false sea depicted at the bottom of each window into the inlet, challenging us to consider the nature of reality here.

The Musician wonders what the paradoxical windows are attached to way up there, out of sight.

Sitting beside the inlet.

Standing up, The Musician falls into the water to discover more wonders. He’s entered something deep for sure! The sim abounds with life.

Amazing textures and shapes. I was studying Max Ernst a bit earlier tonight (see “What Crows See”) and this translates well into his vernacular.

The Musician then stumbles on what *might* be the heart of the exhibit: a small sea canyon filled with namesake glass jars. He discovers a sprite-like being named “secrets” holding a green scroll called “Letter from my secret garden”.

Stuck somehow on the wall beside her are many additional scrolls of different sizes and bindings, along with a number of bottles.

Since we are in a sea environment, we can speculate theses are matching bottles and messages, separated out and then arranged in this peculiar pattern for a particular reason (?) I can’t wrap my head around it tonight. I’ll have to return through The Musician another night, perhaps tomorrow. Until then!

(continued in)

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What Crows See.

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Developments

“Well, we finally got a roof on this old gazebo. Carrcassonne’s been sitting in the rain for quite some time now. Maybe 1/2 a year.”

“I doubt if she minded,” responds Karoz. “Being inactive and all.”

“We’re working on *that* as well,” Baker Bloch replies. “Not Perch unfortunately.”

“Oh?”

“No, Wheeler has had a talk with him. He doesn’t want to give up his independence after being removed. Eyes are picky like that.”

“At least it’s better than a picky nose.”

Baker Bloch doesn’t reply to Karoz’s weak joke but continues. “Obviously not the abberant one you found on the fake Mars… LeMars, the one that really doesn’t exist.”

“No that wouldn’t be good (for Collagesity). Must be a place you can, er, place an ad. ‘All Seeing Eye Monthly’ or something.

“Maybe. But things are changing around here. Wheeler’s seen the light. She’s been assimilated (in turn).”

“Amazing,” says Karoz back. “And I seem to not work for her. Maybe we should call it an opening for a full time position with Tom Busker. Closer to home (since I live in the mall and all). Less travel… can stay home with the pet.”

“You have a pet?” Baker Bloch asks.

“The parrot… remember?”

“I think so. The Ancient?”

“No. Just a parrot. Wheeler Wilson is doing good by her name now. TILE may move forward. Pretty sure of that, actually.”

“We’ll see how it develops,” Baker ended.

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State of Things

Blue Mtn. Urban Landscape/Bigfoot (etc.) will certainly come into play very soon, perhaps this Sunday. Poison Ivy will be out in the High Country maybe by mid to late April. So little time to lose in major exploring until then. I’ve been to Whitehead Crossing quite a number of times during the warm winter and early spring. I’ll make comments on some pics I made asap. New “path” discovered which leads to interesting rock group on upper edge of Woods of Howl (or is it Woods of Hal?). Spotted girl hiking there about month and a half back. Unusual to encounter someone in the open woods and I asked her if she knew where she was, which she responded to in the affirmative. An orange dog was with her. Mossman research continues… that’s all changing as far as past mythology goes. I do not plan — I don’t think — to create a toy happening at Whitehead Crossing, despite the surface attraction. Instead I’ll be observing and occasionally taking pictures there. Bigfoot will probably remain the focus in that area. My speculation is that Bigfoot was specifically created for me by Others just for this purpose. The Bigfoot Swamp is unusually placed.

My educated guess is that I’ll procure future “toys/junk” either from flea markets or a proximate Goodwill store (right at the entrance to Bigfoot!). There is still a chance I may give up Collagesity in Minoa and rebuild in the fall. I must keep developing real life art in tandem with Second Life related art and fiction. But the Collagesity novels have been a hoot to create (!). I now call them Collagesity I II and III sometimes, but the actual names, again, are: “Collagesity 2015-2016 Winter” (C1516W), “Collagesity 2016 Later” (C16L), and “Collagesity 2016-2017 Winter” (C1617W). So the new one may be called “Collagesity 2017 Later” if it follows the pattern. I don’t plan to begin this next projected installation in the series until the early summer at the very least but who knows. Right now I’m in an in-between period, which could be a prelude for the new novel.

My gradual psychic removal from the Snowlands continues after heavy involvement in it at the end of C1617W. I will not renew my rental in its western part for another month (rented a 2048 parcel right after the completion of C1617W in early March). All my “illegal” builds, such as at Wheeler’s “Way Station”, or beside Woody’s A-frame, have been deleted in the meantime. A possibility exists to rent in Ohno on eastern side of Snowlands, but we’ll see. It will be small, probably a 512, if so.

What will Collagesity 2017 Later look like? What of the new installation of Bigfoot/Chesterton toy-junk-marble happenings? Questions that of course really can’t be answered right now. But let’s speculate anyhoot…

Bigfoot-Chesterton: the area between them, called Vincente for now LINK, is a possibility for a third perhaps smaller and more condensed (and story laden?) happening. Through it we may better piece together what the other two are about.

In Collagesity 2017 Later, we may have the return to power of Carrcassonnee, maybe in tandem with (an also transformed) Wheeler. Baker Bloch and Baker Blinker remain the powers behind the scene, however, more Bloch but also Blinker as repository of many past memories and experiences now. Bracket Jupiter may return in diff. form. I’m not sure Old Mabel and Urch/Buurb will come back. Karoz obviously will return, and perhaps will become a central character once more (he was kind of on backburner in C1617W). That’s all for now.

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Karoz 02

“So you went into the void sim to the immediate west of Mos Ainsley, then were kicked out as zero became one and ended up in Mos Ainsley instead.”

“You cannot stay in the void zone. You must return to One.”

“Tell me now this works? How is Mos Ainsley the moon to Jeogeot and how does it correlate to The Moon of Jeogeot?”

“There is a purse,” then says Karoz. “A Curse Purse. On an island. Grassy knoll nearby.”

Baker Bloch had a hunch. “Is this island the same as Muff-Bermingham?” Turns out he was correct.

—–

“Karoz, it is said that Journal 1, which may be the same as Old Mabel’s Journal *4*, is located on this Muff-Bermingham. You and Baker Blinker almost found it last November when being ordered there by Wheeler. But the great Green and White wars started on that island, er, planet.”

“Both,” Karoz clarified. “Space wars, yes. But not ‘Star Wars'”

“But this war also started here in Collagesity. When the Facets tried to forcefully get the Lucky sign from resistant Furry Karl, who then pulled out his Treeshooter, as he calls it. His gun.”

“We’re going on quite a tangent, but yes Baker Bloch. All that is correct, once more.”

—–

“Is Journal 1 the same as Journal 4?”

“You know it is (Baker Bloch).”

“Lucky, the village, is the same as the audiovisual synchronicity “Dark Side of the Rainbow.”

“You are telling the story, but, yes, as I understand it, they are the vesica piscus as one. Two Lucky villages, the circumference of the second is the center of the first. Unch lies on the circumference of the original, the one with the Lucky sign in its midst still. The second lacked the sign. The great robolution had already taken place. Treestock. ’68.”

“I don’t know what a lot of that means,” admits Baker Bloch.

“Neither do I.”

—–

“Back to Sapphire, Karoz.”

“Yes.”

“Hold on just a minute. Let’s order some coffee.”

“Sure.”

—–

“Tell me about your grandparents, Karoz.”

“You mean Sapphire’s mom and dad?”

“Yes. Do you have other grandparents? I guess on your father’s side, obviously.”

“Mossman. I am part or perhaps half moss. I know [delete name].”

“Interesting… forgot about that. Is Gene Fade your father?”

“Yes.”

“How did that work? I think I recall the Gypsies keeping him in a cellar for a play thing.”

“Haha. Yes. That was their story.”

“Such a hunk.”

“Haha.”

“Can you tell me more about the Mossmen, then, Karoz?”

“A bit. I wasn’t raised by Gene Fade, but he created me. He also created Bracket Jupiter, who was king of the Comma Islands.”

“So Gene Fade is a user. But he is a toy avatar as well.”

“He is both.” (pause)

“How can he be both?”

—–

“Back to Sapphire, Karoz.”

“*Yes* You are asking too many questions I simply can’t answer. Ask about Sapphire. The Gypsies and Gene will have to wait. Arab back to Baracuda (Karoz spells this out).

—–

Into the night they went. The Blue Feather restaurant and bar had long closed. Discussions were spiraling around the truth but perhaps not getting much closer to the center than where they began. Weary, they decided to call it quits. But first thing the next time they would speak of Sapphire and Yeot and Yd Island and how she got to Norum and what happened to her when the Lindens came and she became the Lapis and the Lazuli both.

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Karoz 01

“I was trying to figure out which of those mounds was Meditation Knoll, Karoz.”

“Did you get it?”

“Yeah.”

“Good.”

“So to the topic of the night: Norum. You must begin to remember.”

“I remember,” says Karoz, looking at his nails. “I remember some.”

“Tell me about Sapphire.”

“Mother. Before she was Turquoise. Then she became the Lapiz and the Lazuli when the Linden Labs came and erased our Lemony ways. Norum was no more. Time passed.”

“How did you come into the, er, care of Sapphire.”

“I was given to Sapphire by the Gypsies of The Moon. Another 3-n-1.”

“What does that mean, Karoz?”

“There were 3 Gypsies who were actually one. Gypsy Rose, Gypsy Devarue, I think (sp?) and one other I can’t remember the last name of. But all three claimed to actually be this Gypsy Rose.”

“And this was on the moon of the Maebaleia or Satori continent, take your pick.”

“Yes.”

—–

“We’re going to use the Oracle, Karoz, to help us move forward.”

“Go ahead.”

—–

“Well, we know Gypsey is intimately connected to Grassy.”

“Another knoll,” Karoz responds. “Grassy Noll. Better known, hehe, as Salad Bar Jack.”

“Gypsy was his partner.”

“Yes.”

—–

“Then the Arab… Barracuda is Arab kind of sideways or backwards.”

“Right.”

“That was the ship that brought you to Jeogeot. Through the portal. 10 to 6 to 3 to 1 is the way Sapphire put it. Then you were at Mos Ainsley, the moon of *Jeogeot*. The twin to the moon of Maebaleia just as Jeogeot and Maebaleia themselves are twins. Opposites. 180 degree spins of the same 3d landmass.”

“Correct.”

“So the ship The Arab is the same as Barracuda.”

“Wilson sisters. 3 instead of 2. Gypsies.”

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