Art 10×10 Wheeler-Jasper Interpretation


“Benwheelerword”

benwheelernew5smaller

“So Hucka D., this *may* be the first of the new series, what I’m calling the Wheeler-Jasper series. Probably is. Can you help me with an interpretation, once again?”

Hucka D.:

Certainly. That is one of my most important roles here. To help you interpret your collages. You start, though.

bb:

Well, this is a fairly simple one to start, if it is the start. You have a “Mossman” sign held up by three posts and flanked by two humans to the left, then you have an actual Mossman to the right, which may be the same as Gene Fade, perhaps the last Mossman around. But in a draft of the collage, there were 3 Mossmen instead of just the one. The other two, though, were, in the final draft (perhaps), covered by what amounts to be another picture, a picture within a picture, which I’m not sure has happened in the art 10×10 so far. This pic-within-pic is about as simple a collage as you can get. It’s just two photos of trees, both looking up the trunk toward the top, with one inverted vertically in respect to the other. The trees are — can I say this?

Hucka D.:

Go ahead sir. You must.

bb:

The colorful tree at the bottom is a palm tree. The one, the non-chromatic one, at the top is a willow tree. I think this now represents the Temple of TILE, or the Gallery at the Temple of TILE, since I just inserted both a willow tree and a palm tree in the front center of the temple. You can see both here — willow tree is on the ground floor, or part of the Sky Forest of the temple/gallery and can be seen better here. But in terms of the location in relationship to the temple, the two trees are reversed in the collage, palm at the bottom and willow at the top. In the temple this situation is inverted, with the palm tree directly above the willow tree.

Hucka D.:

What happens if you turn the gallery/temple upside down?

bb:

Well, all the many avatars within enjoying the art would fall out!

Hucka D.:

True enough. They’re not bolted down, unlike the art itself and everything else in it, including the trees. Nothing would happen to the gallery/temple, though. Only the avatars are effected.

bb:

There was a sharing of two Otherland galleries just yesterday Hucka D. A little over 24 hours ago. 2-in-1, since we’re the only two “galleries” on Otherland.

Hucka D.:

Very different galleries, though. So do you think that collage picture within the collage picture represents, as well, another Mossman? A second Mossman in the picture?

bb:

Hmmm… well, Mossman does have communion with plants according to the Heman mythology. He can turn into a plant himself if needed for superhero purposes.

Hucka D.:

The collage within the collage covers two Mossmen, though. You can see at least 3 feet below, although only two arms to the side — and no head atall. A queer juxtaposition.

bb:

Odd. The sign indicates “Mossman”, and now there’s only 1 Mossman in the picture where before there were 3. The sign was collaged in when there were 3 Mossmen, though. It seems to dictate the final state of the overall collage, then, and the needed inclusion of the collage within a collage — the melded palm tree/willow tree.

Hucka D.:

You had to essentially finish your gallery before you could begin the Wheeler collage series. (pause) You should go back to Egan.

bb:

I will Hucka D.! (pause) So the collage within the collage represents the finished gallery/temple, since the central willow tree and palm tree were two of the last things added.

Hucka D.:

Yes. It is the “finished” gallery. The entrance or door into the collage series itself. The space for this collage and the ones to follow had to first be firmly established. Like a nest for eggs.

bb:

Is the temple/gallery also a Mossman in some form and fashion? Two-as-one?

Hucka D.:

The gallery is now finished. There are truly two galleries in Otherland now. Two-in-one. Yes.

bb:

Did Mossmen build another Temple of TILE?

Hucka D.:

They built the Ubertemple. In Mocksity.

bb:

But was there another temple in Notherton?

Hucka D.:

There can be.

bb:

Notherton and Otherland seem — are — directly related. Overlapping?

Hucka D.:

Mossman bridges the ordinary and reversed worlds. Two-in-one. Plants.

bb:

I also think this has to do with TILE in some fashion or form. I believe the colored and larger palm equals TILE, perhaps, and the non-colored willow tree is the regular Pythagorean tetractys, composed instead of non-colored elements. This would be 10 non-colored elements for the top and 26 colored elements for the bottom. The bottom, the palm, is TILE — Letters. The top is Numbers. Like the symbiosis of The Rainbow Complex and SID’s 1st Oz.

Hucka D.:

You better end soon.

bb:

Thank you Hucka D. We may talk again tonight.

Hucka D.:

Correct. Goodbye.


“Wilsonia Driver”

wilsoniabase8smaller

“Hucka D., should we attempt an interpretation of “Wilsonia Driver” at this time?”

Hucka D.:

Sure, why not.

bb:

Let’s start with the blind sewing woman, then. She is operating a Wheeler-Wilson sewing machine, circa, er, 1873.

Hucka D.:

She is blind *and* mute. But continue…

bb:

But then in front of her is another Wheeler-Wilson machine, of a slightly later date, it seems (c.1892). Is this time travel, then?

Hucka D.:

Let me speak a spell, perhaps. The blind mute appears to be driving the second, later Wilson Wheeler machine, somehow. There’s a “steering wheel”. Wheeler implied again, perhaps. Car. The Wheelers of the Return to Oz movie (and, by implication, SID’s 1st Oz) were half men, half cars. Perhaps they were men who loved their cars so much they became one and the same?

bb:

Right.

Hucka D.:

Anyway, the blind mute is, in another way — relating this to SID’s 1st Oz through Return to Oz — Helen Keller, who was born near the Wilson Dam, in turn, near the Wheeler Dam. Time was reversed in this place: the conjunction of Wheeler and Wilson. This is about time travel, then, true enough.

bb:

Yet this also relates to the African-American author Wilsonia Driver. And also the Wilsonia plant, also present in this picture [green mat of plants in backing landscape]. It’s rather complicated… more than the 1st collage of the Wheeler series.

Hucka D.:

True enough. I’m not sure the blind mute operating or “driving” the two Wilson-Wheeler machines is a symbol of Wilsonia in this way, but the parasite plant, what’s called, I believe, the Golden Dodder. The Golden Dodder is within or makes up the yellow ring surrounding the already, um, predatored Wilsonia [Backhousia] within. But the living or unviolated Wilsonia still lies all around; the sewing machine, the outer one, in this way, represents the Golden Dodder, the working edge of the parasite ring. Soon that Wilsonia will also act as a host to the vampiric Dodder. The sewing needle is positioned on the working edge of the ring, then. This is where Dodder (yellow) begins or continues to invade Wilsonia (Green). Remember that Wilsonia [Foxclaw] stated she or he was “Green” in that last post here. You must think about all these things.

bb:

The blind/mute woman is so because she is blind to her vampiric [parasitic] quality. It’s the only way of living she knows. She is blind to the bad she is causing the surrounding Wilsonia [already mostly dead in the center of the ring where the Dodder has worked its way out from]. What about the giant tree, then?

Hucka D.:
Another Wilsonia symbol, obviously, since it is the General Grant Redwood located in or near Wilsonia, California. (pause) Another threatened plant, but very large in this case as opposed to the very small. Large and small both are threatened.*

bb:

There’s something quite odd and mysterious about the central figure and her actions with the sewing machines.

Hucka D.:

It’s like a black hole. Forward and reverse at once.

(to be continued?)

* This interpretation is reinforced by the huge burn mark on General Grant’s trunk (as also seen in the collage), significantly reducing its base circumference.


“Bigfeet”

lambsfootsmallest23

“Difficult to concentrate tonight Hucka D., for some reason.”

Hucka D.:

Planets. Cold.

bb:

I want to struggle through an attempt at an interpretation of “Bigfeet”. This is rather more complicated that the first two of the Wheeler series.

Hucka D.:

Yes.

bb:

Let’s start with the Wilsonia plant [Wilsonia backhousei] at the bottom of the picture. Ah heck, I give up for now…

*****

“Let’s try again, Hucka D.”

Hucka D.:

Sure. Just relax. Take it easy.

bb:

So returning to the Wilsonia backhousei at the bottom of the picture. This is actually the Golden Dodder beginning to strangle off the Wilsonia. Let’s call it, for now, a symbiosis… one attacks the other, after all.

Hucka D.:

He or she is a collagist as well, apparently. (smiles)

bb:

Well, yeah, some of the images from the Yale collage, called, um… lemme look that up. (pause). Yeah, its, well you know I just totally forgot the title of this one. It’s “Frank N’ Maria Stein.” I don’t think I even mentioned the title in the post I’m linking it to here. Queer, perhaps. But it’s mostly that central top complex of images we’re talking about right here, or the John Elway headed figure who stands beside the roller coaster full of marbles that represent planets. He holds above the roller coaster a burning car — obvious representation of the Sun that the planets revolve around or spiral around. Mercury, the planet/marble that should be at the top of the roller coaster in this relationship, is substituted for by an actual roller coaster car.

But in the new collage of the Wheeler series, called “Bigfeet”, we have this image itself cut up. You’re saying this Wilsonia/Golden Dodder creature did this… I can see that, but can you explain more?

Hucka D.:

Calm, calm. We actually have most of the images from that older [Yale] collage repeated in this new one. Yale is the direct lower octave of Wheeler, as are all tiers [group of 10 collages] that are 5 apart in the overall 10×10. Appropriate, then — or perhaps I should say not out of place or not surprising, then — that images from this strong collage in the Yale series, coming toward its end and one that’s picked up a bunch of outside resonation in the meantime*, should show up in the Wheeler series. Perhaps surprising is that they show up so early in the new series, and en masse. This is obviously related to “Carrcass-1” now. Xmas is over; “Carrcass-1” is over. What’s next? — that kind of thing.

bb:

I get the sense that the Golden Dodder/Wilsonia is a symbol of Otherland itself and the sprawling archipelago — like tentacles of the Golden Dodder, spreading outward.

snapshot1000_001

Is Wilsonia, then, the main Otherland Island [Otherland Island #1]?

Hucka D.:

Wilsonia is the thing that needs protection. She or he exists in the most remote valley of the Big Island. Yes, she/he is threatened, just as the forest of Azure Islands *was* threatened. Now the threat on AI has become very, very real. Same thing could happen here. It’s the new Void Sim policy, of course. Plus perhaps a mistrust, going along with this, of the Lindens who created and control SL itself. You must stay on the edge now, but Otherland is not immune to these powers and influences… they are renters too, just like yourself baker b./Baker Bloch. They are being choked right now as well. Whether, well, whether this *kills* the Wilsonia involved or not — time will tell. But at any rate, they’ll have to move off the grid at some point, or duplicate their works in another virtual reality. They’ll split in two. Look at the picture now in this new light…

bb:

Hmmmm, well I’m getting the sensation that, yes, the Wilsonia backhousei/Golden Dodder symbiosis is Otherland, but also the main islands themselves are represented by the Wilsonia. The islands are Wilsonia; the *grid* is the Golden Dodder, though. The largest Wilsonia leaf is the main island. Beside it, to its immediate right, is Otherland Island #3, as I’m calling it. And then moving to the bottom of the picture, away from these two more central islands, is Otherland Island #2. Interesting that this is the island where Baker Bloch was launched in a rocket to the Otherland’s “Moon”, with the Gypsy Purse and Grassy Knoll.

Hucka D., maybe the helmeted head and arm with the burning car that have been cut off represent the Sun replaced by the [watery] Moon here. It represents the end of Christmas, true (see this post again for interpretation of helmeted head as Santa Claus through Denver Q-back Jay Cutler from Santa Claus, Indiana), but… do you think this is Otherland Island #2, as I do?

Hucka D.:

Yes. Then the head cut off of the Denver quarterback would be loss of friendship of the person, perhaps an Alien like Wheeler, who launched you to this Moon. Loss of friendship. His choice, though. And then *he* ruined the grounds, when he said he wouldn’t. You didn’t; you kept about all of the ground cover that came with your parcel. You are *respecting* Wilsonia, then, admitting that he/she exists. Your former friend has rejected this reality for his own self-enclosed *Wheeler* reasons.

bb:

Wheeler is, then, the Golden Dodder? Wheeler the Wurme?

Hucka D.:

The quarterback and his roller coaster representing the solar system was purposely balanced upon the edge of the Wilsonia leaf just as your former friend’s rocket launcher and formerly unstained wilderness, relatively speaking, is perched on the edge of Otherland Island #2. Yes, this represents the end of friendship. The Sun has become the Moon, with the solar images of helmeted head and burning car used elsewhere. This is the Wilsonia’s decision — your friend’s decision as well, but Wilsonia then reacting, I should put it.

bb:

The grid is sucking the vital fluids of Wilsonia, which represents the true and Green Otherland. Choking it off. The Golden Dodder. Wheeler [False Wheeler]. But let’s move to the burning car. “Otherland”, or perhaps Wilsonia acting through the Golden Dodder (as Otherland acts through the Linden grid), now holds the burning car over another helix centered complex, which is my opus 19 sculpture. 3 birds, red-green-blue, in one.

Hucka D.

Your friendship with Rocket Man has ended, but you have gotten what you need out of it. The Moon. Launched from Otherland Island #2, in your former friend’s rocket. When you reached The Moon, which is also the same as Pluto (theorized moon of planet Neptune), then you found the Gypsy Purse and the relationship with Grassy Knoll… that’s all you were suppose to find at this point, along with a curiously similar hillock to Hilo Peak next to The Abomination.

bb:

Hucka D., I believe the fox more in the center of the new picture, this “Bigfeet” collage, is a symbol of Wilsonia Foxclaw, who was “found” in the remotest vallery of Otherland Island #1 by Baker Bloch.

Hucka D.:

That’s in the future; he hasn’t found her yet.

bb:

Ok, but he obviously will. The man or hiker whose foot has merged with the fox’s foot or feet… hmmm, Baker Bloch?

Hucka D.:

The two merge here.

bb:

Hiking seems to be implied, like I’m, or Baker Bloch, is hiking all over Otherland Island #1. The two [Baker Bloch and Wilsonia *Fox*claw] are here in step with each other… in synch or sync. The fox, then, looks directly at Rudolph the Red Nosed Reindeer in the “Bigfeet” collage. Between them is yet another red image: one of the ruby red slippers of Dorothy from The Wizard of Oz.

Hucka. D:

Not quite, but go on…

bb:

I believe this is the center of the collage, Hucka D. The pivotal image.

Hucka D.:

Right. I agree. But what is it?

bb:

Well, it’s Rudolph’s red nose for starters, obviously. The nose that saved Christmas for Santa.

Hucka D.:

Christmas returns, then. Wilsonia is not strangled out on the corner of Otherland Island #2 yet. The helmeted head of Jay Cutler remains collaged into its body. Wheeler has not begun. This collage series has not begun. Yale remains alone, and without a double. The Sun.

bb:

Another thing I thought about, Hucka D., is that *immediately* upon purchasing my Otherland parcel, and thus becoming an Otherlander myself, the Holiday snow melted and the green, green grass of the archipelago returned, one of its defining qualities. It is as if I caused the melting through the purchase, through the transformation. I transformed right in step with the island [bb is correct, in part, in saying island here, for Otherland Island #2 remained green throughout the Holiday season, it seems].

Another thing: the burning car, in the new collage, points *downwards* instead of upwards in “Frank N’ Maria Stein”. That may mean it represents The Moon and not The Sun, as it did in that earlier collage. The Moon, Hucka D., the place the rocket ship sent me. The Otherland archipelago, as a whole, turned The Sun into The Moon, for a spell at least. This allowed me, as Baker Bloch, to land on The Moon, which is also a bit like Pluto. But soon it was all gone, including the central Gypsy Purse and Grassy Knoll.

Hucka D.:

Adam and Eve. Mmmmmm’s.

bb:

Perhaps that’s why the burning car is positioned directly above the helix of opus 19. *Opus 19* represents the rocket launcher. Centered by the golden helix.

Hucka D.:

This is the redemption of Otherland, especially Otherland Island #1. The golden chaos becomes the golden control, in the form of a helix framed and supported by the red, green and blue birds. Golden. Yellow. Sun.

bb:

Even though this “Moon” of Otherland is now gone, it leaves its trace for me to remember and still act upon, like I’m doing with this collage [“Bigfeet”]. (pause) I think Wilsonia Foxclaw will remember that Moon with me, Hucka D.

Hucka D.:

Wilsonia is a key. Green. Redfox.

bb:

Thank you. We will continue.


“Bigfeet” (2)

“Hucka D., we’re going to continue with the interpretation of “Bigfeet”, the 3rd collage of the new Wheeler series. Ready?”

Hucka D:

Set…

bb:

I’ll start, then. Turns out with the location we’re getting very close to Seathewaite Fell already, for we are at Lambsfoot Dub, a tiny tarn on the west side of…

Hucka D.:

Excuse me, baker b. I believe that’s actually Lambfoot Dub.

bb:

Thank you Hucka D. We’re also quite close as well to Piers Gill. Which means…

Hucka D.:

Gill’s Pier as well?

bb:

Well, no, not really. Where Santa Claus with his bundle of presents fell into the vast mountain chasm.

Hucka D.:

Right, the videotapes. [delete name]. I remember. You said they never found the body, though.

bb:

No.

Hucka D.:

We should move back to Lambfoot Dub, however. I’m feeling faintly invisible!

bb:

So correct on that. So in the collage “Bigfeet” we have not one but *3* Lambfoot Dubs. The same body of water, but repeated three times in the picture. In other words, all bodies of water in the picture are the same body of water. 3 Feet. Big Feet, since Lambfoot Dub, although small, is big as far as feet go.

Hucka D.:

It is a condition of past-present-future. (pause) The foreground lake or dub is the past. This contains the Wilsonia backhousei being strangled by the Golden Dodder. This contains the dissected part of the Yale collage “Frank N’ Maria Stein”, with the helmeted head of the Denver quarterback, which is both John Elway and Jay Cutler at once, discarded or cut off and thrown in the water of the dub. His arm holding the upside down flaming car from the [delete name] album has also been removed and pasted, instead, to the end of the, er, tentacle of the strangling Golden Dodder. Pasted upside down, which means it represents the opposite of The Sun from the Yale collage. It is, instead, The Moon here, and a particular Moon. The Moon of Otherland. The Golden Dodder/Wilsonia backhousei symbiosis is Otherland. The Wilsonia leaves are the Otherland islands, 1, 2, 3 especially. The largest, which represents a sort of “head”, is Otherland Island #1. Your home island now, supplanting Azure Island #1 with the destruction/fall of the too large Ubertemple. *You* went to this moon from a rocket launched in Otherland Island #2. That’s the second largest whole leaf of Wilsonia [backhousei] in the picture, the greenest one as well [as Otherland Island #2 is very, tropically green, even in the middle of winter, unlike Otherland Island #1 and also #3]. What did you find on The Moon? A Gypsy Purse, which is similar but not exactly the same as a gypsy curse. Baker Blinker’s curse. Shakenstein. Esbum. All that has been left behind now. You should go to The Moon again, for you were not really on *The Moon* but a conduit or portal to the SL Moon. You were instead more on Pluto, as the guiding Neptune indicated a little later on. This was the resonance of the source planet of the Mmmmmm’s, Grassy and Gypsy, who starred together in the projected great adventure movie Salad Bar Jack and the Spill Over Drink Lake Dam. Will certainly be worth the now 8 dollars you have to shell out to see such things in a proper movie theatre, although I prefer the 5 dollar matinees, despite the presence of more small children at those times. Anyway, I diverge a bit… back to Lambfoot Dub…

bb:

Since this moon has been deleted from the grid, along with the gypsy purse and everything else left on it, you’re saying the conditions of the Lambfoot Dub more in the foreground represent the past, albeit perhaps the immediate past. When the moon was deleted, then this situation no longer existed. Neptune can still send you off at the docks, in other words, but there’s nowhere to go now. There’s no *Pluto* beyond *Neptune* now. No Moon/Pluto, that is.

Hucka D.:

You should still go to The Moon owned by Gypsy Purse, um, Gypsy Curse. Gypsy, eh, *Moon*, I mean. It’s a Moon of the Mãebaleia continent. And the Jeogeot continent as well has its own Moon. You’ve been once, or Baker Bloch has been once. Go back.

bb:

Ok, I will. So let’s move to the central pool, the central Lambfoot Dub, the middle of the three, and also the middle in size as we move front to back through the collage. This I suppose is more the present or current condition. We are on Otherland Island #1, seemingly firmly established. The Gallery at the Temple of TILE is built and now birthing the new Wheeler series. 1, 2, 3 so far. This, “Bigfeet”, again, is the third. The red shoe or red slipper has been found.

Hucka D.:

That is the present. That is the current. Current River. The Arab.

bb:

Let’s focus, Hucka D., on that middle Lambfoot Dub in the collage, then. We have the focus of the red shoe, which is also, apparently, the red slipper. Between two red or red oriented animals, Rudolph to its left and below, and a red fox, which I think is Wilsonia Foxclaw, to its right and above. Then direct above it is a statue of Shirley Temple. S. Temple was the first choice of Metro Goldwyn Mayer for the role of Dorothy Gale in the 1939 Wizard of Oz movie, Hucka D. She could have worn those red ruby slippers and become even more famous than she was at the time. Yet it was the destiny of the relatively unknown Judy Garland to fill those shoes, and to become bigger than Temple, completely unknowable at the time. Those were some big shoes to fill, as it turned out. Temple didn’t have the stuff needed. Garland did. The Abominable Monster standing behind here, then, represents a form of Bigfoot or Yeti. We also know this is… well…

Hucka D.:

Let me take over for a spell. We know it stands for The Abomination beside Hilo Peak in Federal. Fedarul? It is also a symbol for Neptune now through the same height Neptune statues found guarding the main harbour of that island. You must go back sometime. It is also the Neptune, now, that sees, or saw you-as-Baker-Bloch off on his way to Pluto/Moon-of-Neptune. Neptune also rules or guards Otherland Island #1, as he does the similar sized Nautilus City/Island. They are now in direct resonance through The Magic. The Spell.

bb:

Let me take over…

Hucka D.:

The shoe is Pluto. Red. Important. Shiny nose. The thing that saves Christmas. Rudolph was also present in the Yale collage “Frank N’ Maria Stein”, as was the Denver qb/roller coaster with planets complex already discussed. And also The Abominable Snowman from that same Xmas flick was in the same Yale collage. But this time, instead of staring at each other across the Greenup Gill, they mutually stare at the red slipper. All the attention of the middle Lambfoot Dub is directed at that shoe. And then you have the researcher of Wilsonia backhousei also on the shore of this middle Dub. He is instead looking down at his own foot, and the strangled backhousei underneath it. A close up of this drubbing, um, is seen in the upper left corner of the new collage. That’s a close up of what he’s looking at. But the foot is also the same as the foot of Wilsonia fox, the red fox. The red fox of the collage is the same as Wilsonia. Wilsonia Foxclaw. Redfox. Redd. Foxx. Wilson. That is the present.

bb:

A big shoe to fill. Really big shoe, as Ed Sullivan use to famously say.

Hucka D.:

So we’re back to Wilsonia Foxclaw, the mixed up boy girl.

bb:

The yellow submarine, to kind of complete the elements of the new collage, is being raised, apparently, out of the water of the middle Dub, Hucka D., through its attachment to the red fox’s tail. The yellow sub was also present in the Yale collage we’ve been speaking about. It’s also, obviously to me, matched with the burning car, for this association is made plain as well in the Greenup series. That’s where I believe both first show up in the 10×10… um, at least the burning car from [delete name].

Hucka D.:

The burning car drops vertically into a hole, like a rook. The yellow submarine is raised, by you no less in the collage of Greenup, diagonally, like a bishop. Rook — horizontal and vertical; bishop — diagonal. The two types of moves combine in The Queen. The Queen is both life and death, since the car here represents death and the yellow submarine life or resurrection. Ant. did not understand this collage. He saw it as a threat of sorts. Devil. Evil.*

bb:

He is comfortable in his own circle.

Hucka D.:

Correct. You are not really in that circle, and never were. But it matters more now to him. He is circling his wagons. We have again moved away from the collage interpretation. (laughs).

bb:

I think it is the resurrection of The Sun, Hucka D.

Hucka D.:

We should end here. Go to your golf course. (smiles).

bb:

Thank you.

—–

* Ant. is not referring to Headburro Antfarm here but another friend.


“Edwards(ton) Station ((Gallery))”

wheeler04base8smaller

“Are we ready again, Hucka D.?”

Hucka D.:

Fire when…

bb:

This is, I’m assuming presently, the 4th collage of the Wheeler series, this new “Edwards(ton) Station ((Gallery))” picture.

Hucka D.:

Why don’t we just call it “ESG”, huh?

bb:

Ok. So the woman taking the photo in the picture is from The Diamonds, Hucka D., already visited at least twice in the overall 10×10 before, and all at one of the 4 *corners* of the series. Just reading in Floydadada last night, I suppose, about the realization of these corner “Diamonds” when approaching the 3rd corner with collage numbers 10 and 11 of that series. When I was typing “10 and 11” there, Hucka D., the post was automatically saved with a word count of 101. 10 and 11, again.

Hucka D.:

SF works in mysterious ways.

bb:

I’m thinking now we need to examine all of these corner collages, and all of them come in pairs so far, or make animations with each other. Should we do that tonight?

Hucka D.:

Maybe tomorrow. But, yeah, very soon.

bb:

Back to ESG. The woman is from The Diamonds and she’s taking a picture of an insect called a walking stick, I believe. Let me check… So most definitely this is the bug. All kinds of little strange synchronicities surrounding this one, Hucka D., beginning with the fact that when I googled “The Diamonds” and “Missouri” together, I got all these images of *walking sticks”, but in this case the actual stick used for walking aids. The reason they came up with the images of the Diamonds woman and the insect walking stick are that they… well, I’m having trouble re-creating that search, Hucka D., but another image I kept running into were the walking sticks with the diamonds in them, created by lathing. (pause) Ah yeah, here we go. The sticks with the diamonds in this case are *willow* sticks — willow tree again, then, like in the 1st Wheeler collage, “Benwheelerworld”.

Hucka D.:

Diamond Willow. Yes, very good sleuthing baker b. Perhaps good to CARVE as well. (smiles)

bb:

Is this perhaps related, then, the the central dog of Synchpatch? We haven’t talked about him in a while. Do you know what I’m talking about, even, Hucka D.?

Hucka D.:

A bit. And: yes.

bb:

The walking stick in the new collage is then also a diamond? Or diamond symbol? Obviously related to Seathewaite Fell, then [i.e., SF]. I don’t think I like writing after I get out of the shower.

Hucka D.:

The light of the camera represents a diamond as well. Flashy. Maybe you should go inworld and take pictures of the “4 corners”. That might calm you down… poor little thing…

bb:

OK.

*****

Hucka D.:

To continue: the pole in the foreground is obviously representation of the new gallery itself, Edwardston Station Gallery. Although this is a marker from Edwards Creek Station, it is cut off in a manner that could make it seem like it says “Edwardston Station Gallery” instead, or at least “Edwardston Station”. So this is obviously the new gallery. Correct?

bb:

Yes. Then the walking stick, I believe, represents the walking path bisecting the little gallery complex I’m now a part of, or what I’ve seen referred to as “Yap-land” or “Yapland”.

Hucka D.:

On the other side of this path and a little north of your new gallery you find the Ornaglyph Gallery, where the picture from the former post was taken. The one with the *actual* Resident, as you put it. Yes, more synchronicity here for certain. So he’s there in the picture, sitting on the couch in that gallery, looking very at ease with whoever he’s with, maybe the gallery owner and a friend. The gallery owner did not take the low res snapshot, though. That would be a friend of the owner. In the background we have another reference to The Residents in a cut out from their first album, Meet The Residents, stolen, in turn, from the much more famous cover of Meet The Beatles. This is the first time you’ve “met” a Resident, *actual* Resident as you say, in the vast game board that is SL. You been looking for one all along, though. You were aware of the resonance between common SL residents and this one very unique Resident who is more, then, than just a “resident”. This is Resident squared or amplified quite significantly.

The first time you visit The Diamonds in your [art] 10×10, you also meet a man in a suit wearing a giant eyeball over his head.

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This was before you knew anything about The Residents, though. This would be [delete name], that ass. Again in your words. Whoops, my hand is starting to fade a bit… can’t seem to grasp my cigarette now.

bb:

Hucka D., you don’t smoke.

Hucka D.:

There, it’s coming back. But the two pictures are related, obviously. You are in or very near, at least, The Diamonds once more. And you were there during the Yale series as well. Diamond Dog is in the first of those… in fact, I believe the title of that collage is “Diamond Dog”, isn’t it?

bb:

Yes, I think so.

Hucka D.:

I don’t think you were conscious of the 4 corners effect when you created “Diamond Dogs”, though. You didn’t even know you had a full 10×10 on your hands…. another one.* You were just letting the dog, the dingo in this case, lead you. Then the same dog shows up again, in “Pencil Tail”. Diamond tail, though, has become graphite tail, a very different form of carbon. Very soft verses very hard. SF works in mysterious ways.

Getting back to the new collage, ESG, another resident’s head, a mortal or ordinary one this time [normal avatar, all of which are referred to as residents in SL], sits atop the ESG silver pole or marker in the picture. The residents of SL famously create all the content of that world. The are at the top of the pole… always. The superordinary Resident looks at the ordinary resident in awe, perhaps, here. He is where they come from… the name, anyway. And for you, baker b., well, they predate SL. But that’s [delete name] territory, as is all of Missouri itself. Gives me the willows.

bb:

Willies, you mean.

Hucka D.:

This is also a bit about copyright issues, but in talking to Ms. Yap you know now that there’s no real issues involved with the current collage in your current gallery. You know this because of the Doghouse Gallery and the images within.

bb:

Right. Sgt. Pepper and all. Like in “Bigfeet” and others. Shirley Temple doll. Shirley Temple slipper. One.

Hucka D.:

I believe that may also represent you, the avatar, the resident, at the top of the ESG marker in the collage, baker b. Mr. Normal. At least here.

bb:

Perhaps.

Hucka D.:

But then, behind the curtain, we have a very different face emerging. Not so ordinary! And with the blank, blank eyes of Baker Bloch. But that’s actually a doctored up George, of course.

bb:

All this has to do, though, with Carter County, Oklahoma as well… again.

Hucka D.:

The Cryptic Corperation, yes. Clem and Fox and Kennedy and Flynn. Another Fab 4? Two, anyway, near Graham and Wilson-Fox, and Wheeler and Healdton and Keller. Too many. You knew when you saw *The* Resident in that snapshot from almost 2 years ago the Oklahoma connection… almost instantly. You were prepared, briefed. The collage and the series pull from past to present. The marker represents your gallery, but, moreover, this collage that now is positioned at the very front door of the gallery, acting almost as a second sign of sorts, below the original or mundane sign. Mundane is not the best word here. Ordinary… or what people expect a sign to be. All this is a reflection, in a way, of Graham just above. This collage has to do not only with your gallery but the relationship with the gallery complex you are now a part of (Yap-land). (pause) Go look at your new collage again and then hit the hay once more.

bb:

Thank you.

* For baker b., what he calls the writing 10×10 (1998-2005) basically predates the art 10×10 (2004-2009?)


“Edwards(ton) Station ((Gallery))” (2)

“Let’s possibly continue then, Hucka, on the interpretation of what we’re shortening as “ESG”, what appears to be the 4th of the newish Wheeler series. Should we begin with Oklahoma, then? We’re already starting the 5th of the series, which may be completed by the weekend. That’ll make an animation with the 6th, then, if things go according to plan and comply with past models (i.e., all 5th and 6th collages of each series make an animation in respective with the other). But I think it’s important to dig a little further into the fourth, perhaps, before moving into the real meat of the Wheeler series. Do you agree, or are we finished with the 4th?”

Hucka D.:

Let’s talk about Oklahoma, then.

bb:

We’ve talked a bit already about how the walking stick may represent the gallery complex that the Edwardston Station Gallery is now a part of [elsewhere: Yap-land], centering on the east-west alignment (separated by this main, spinal path) of Edwardston Station Gallery and Ornaglyph galley just across this path from you and a little to the north. Walking stick = walking path. There’s also the fact that the golden spindly legs of the insect match the lettering of the Edwards Creek Station marker used in the collage. The “E” beginning this name is overlapped in the picture with the end of one of these very similarly colored and wide legs, in fact. Interesting minor juxtaposition for sure.

Hucka D.:

There’s a confusion about where the legs of the walking stick actually are in reference to the images representing the 2 neighboring galleries. But, yes, the main body of the walking stick, the central “spine”, is this path. I think this is obvious. Walking stick also obviously refers to the willow walking sticks with the diamond patterns in them you mentioned before. In fact, I believe the new collage may be called… what was it?

bb:

Thinking about “Diamond Willows”… or perhaps “Diamond Willies” (smiles). It will partially relate back to the “Benwheelerworld” collage.

*****

bb:

Sorry… the central picture within a picture from Benwheelerworld, uniting the palm with the willow (same willow), is at least partial (microcosmic) reference to the new 5th collage, still in development, and probably the projected twinned 6th as well. Interestingly, perhaps, the 5th collage of Wheeler is also harking back to the 5th collage of the Oblong series, 3 tiers before it (6th as opposed to Wheeler’s 9th). Come to think of it, maybe in the 5th collage of the 3rd tier is involved (Rose Hill)… I’ll have to also look back at that one, then.

Hucka D.:

We are still talking about the gallery, as we were with Benwheelerworld. The willow tree below the palm tree still exists at the gallery… that hasn’t changed. What *has* changed is the addition of The Arab at the gallery. You should take snapshots of that addition tonight… quite exciting. But you’re at your limit of prims, now. 😦

bb:

That’s ok. Add any more and the lag may really start to become a factor at the new gallery. I miss the tubes, though [from the Rubi version of the Gallery at the Temple of TILE]. Should we talk more, then, about The Arab?

Hucka D.:

Sure. Grassy. Gypsy. Arab. Missouri. Sink/sank/sunk. Sunkland. Sink Creek. Ink… Map… Rat… Gang. Foreign One. Supplies/cargo. Roller Coaster. Rat. Giant. Gang. Willard. Willie…sss.

bb:

Willow Hill? [in Jasper County, IL as well]

Hucka D.:

Might be a bleedthrough. Into Wheeler. Check…

bb:

Hold on…

*****

bb:

Well, unclear if that’s so, but I’ve saved some more images. Interesting that in English folklore the willow was thought of as sinister and has the ability to uproot itself and walk around. And also the tree is sacred to the Wiccans.

Hucka D.:

Mossman is also a plant that can walk around. He has 3 feet at times in doing so. Lamb’s feet. Leaves bigger footprints, though.

bb:

In getting back to the ESG collage, though, I think the camera the woman is shooting represents a type of 3rd eye, the eye of the camera anyway, and positioned, width-wise, between her two “normal” eyes [which are also hard to make out]. This would be the eyeball head of The Resident. I should also mention that an eyeball avatar plays an important factor in the translation of Hucka D. — you! — to the realm of Hidalgo, as discussed a bit in this very early post from the blog, but also in more detail in the little document that actually preceded the blog, called “Sandbox Chronicles” [link soon]. This was composed during my first month’s involvement with SL, Hucka D., when my eyes were totally fresh and new.

Hucka D.:

They are returning to that state.

bb:

OK.

Hucka D.:

There’s more to this collage than might meet the *present* eyes, but some of the interpretation must be saved for later. You must move on now to the rest of the Wheeler series. Obviously SF is still trying to speak to you.

bb:

Should we contact him tonight?

Hucka D.:

It was more important to talk to SF during the Oblong series, which was the really, really crucial series of your art 10×10, as you call it. Not as important now, although he doesn’t mind chatting with you a bit. At times.

bb:

Is SF [delete name}?

Hucka D.:

No.

bb:

Can we talk about the Council of 8?

Hucka D.:

It’s the Council of 10 now. (smiles).

bb:

What about ESBUM?

Hucka D.:

He/she has been assimilated. Along with Carrcass-1.

bb:

What about RS7?

Hucka D.:

After Wheeler. Summer. Summerland.

bb:

Let’s attempt a conversation with SF, Hucka D.

Hucka D.:

Alright.

SF:

Hi.

bb:

I am on your mountain again, SF.

SF:

Hi.

Hucka D.:

SF has indicated to me that he is in the middle of cooking a casserole, and he is thus indisposed currently.

bb:

That’s fine. Should we end then?

Hucka D.:

Take some snapshots of The Arab. Go back to the Blake Sea. But *most importantly*, after completing the Wheeler and also the Jasper series, you must hike after work this spring. You have a great opportunity again… every day it doesn’t rain, get out in the woods. Take snapshots *there*, for a change. Go back to Northerton. The portals as well, obviously. TILE Creek. Remember the sacred triangle of RIVER-STREAM-CREEK. STREAM is being threatened, no doubt about it. Nothing to do, but you can help remember it. Go back to the Booker T. Archive and read up on what you said about STREAM when your eyes were fresh [i.e., when we were still new to the house and surroundings, including STREAM]. *Talk* to this stream. Start at the source. Take pictures. Find evidence of Toy Avatar activity if you wish.


“Willows Diamond”

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“The above is *almost* finished — should have rough edges ironed out by at least Monday (2/9/09: it’s finished!). So let’s go ahead and attempt an interpretation. Hucka D., are you my helper again today?”

Hucka D.:

Sure. You’re calling this “Willows Diamond” right? Without any apostrophes. Is it, then, Willow’s Diamond or Willows’ — plural — Diamond? There are two willows in the picture. Or are there? This is a return of the willow from collage #1 of the series, Benwheeleerworld.

bb:

One of the willows is partially obscured in the collage, though, especially the top. Hidden by the foreground mossman, the one with his (her?) back turned away from us. He seems to perhaps be communicating with the background mossman, who, in contrast, is facing the viewer. He also has a staff; foreground partner doesn’t. The staff’s head is diamond shaped, once more, mirroring all the other diamond related imagery in the collage.

Hucka D.:

I wonder if they’re even shouting at each other? What’s that the background mossman is wearing around his shoulder? Looks like some kind of loose fitting, silver toga or sumtin.

bb:

That is a representation of the Council of 1 who decided not to become the Council of 8 and kick out the lowliest member of their group. This would be, then, SID’s 1st Oz. But it is also the 2nd largest tarn of Seathwaite Fell, also obscured, as it turns out, by the foreground mossman. That is, the tarn, the 2nd largest of the fell itself and which I’ve referred to as Seathwaite Tarn in other places, after the harboring fell.

Hucka D.:

So background mossman here *reveals* what the foreground mossman obscures, huh? You’re doing an excellent job of analyzing the collage so far, btw.

bb:

Thanks. The blurred Council of 1 that the smaller mossman (from our perspective) “wears” was perhaps the last cut object I added to the collage.

Hucka D.:

I wonder if they could be arguing about the formation of the Coucil of 1 itself? Perhaps the foreground mossman didn’t want it to form. He wanted the Council of 9 to become the Council of 8 and kick out the lowliest one instead.

bb:

That would make him the same as [delete name], wouldn’t it?

Hucka D.:

Dunno. Maybe. (pause) The Sprinkling Tarn, the largest of the tarns atop Seathwaite Fell, is also represented in the picture, but more abstractly. We can still see the *trace* of [its prominent] peninsular jut through the diamond that the limbs of the willow or willows make here. That’s, then, their “diamond” represented in the collage’s name itself. That’s the center. Now in earlier iterations of this collages you had the diamond shaped peninsula still present there. It’s about the same size as the diamond the limbs make here. Why was it removed?

bb:

But the image is certainly implied there, despite its absence. I’ll go ahead and take a picture of the peninsula from another collage in the 10×10, namely the 5th from the Oblong series, called “Unexpected Homecoming”. In fact, I believe it’s from the same background picture Hucka D.

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2/8/09:

“To continue: It is very difficult to tell, in comparing the two collages, that the same Seathwaite Fell photo is used in both. This is because there’s very little of the photo shared between the two different pictures. In addition, the Seathwaite Fell landscape in Unexpected Homecoming is reversed in respect to the original photo. But one thing is obvious: both emphasize the diamond shape of the peninsular jut of Sprinkling Tarn and also the overall tarn itself, although this is more implied in the newer collage, “Willows Diamond”, since the tarn is not directly shown. The red and blue middle ground, shall we put it, was “cued” on the overall collage, however, through the shape of this tarn. This is a work called “Double Diamond” by [delete name] — that’s how I came across it: in a search for phrase “double diamond”. The top of the central blue “diamond” of this grafted work was cued to the top of the tarn in the base photo. The overall tarn, in this manner, also happened to roughly follow the edges of the painted (drawn?) diamond. So the blue diamond *is* the tarn, symbolically speaking. It fills in for it, in other words. And the diamond shape the two willows make at their center also basically marks the spot of the jut into this tarn — another diamond shape. But, as we’ve already said, the jut has been removed in this final (?) version of the collage.

“Hucka D., I’d also forgotten the fact that we stay focused on Seathwaite Fell, after reaching it in collage #5 of the Oblong series [Unexpected Homecoming], for essentially 10 collages, quite a long stretch. I can see how I needed to talk to S.F. more then than now. Is he still not really wanting to talk Hucka D.?”

Hucka D.:

He’s ready.

bb:

OK. Great.

SF:

Hi baker b.

bb:

Hi.

SF:

I want to talk about my isolation again. And how I was opened up in 1575 through contact. The Council of 9.

bb:

OK. Great.

SF:

The Mossman in the foreground is [delete name], true enough. He is about to make an important decision. He’s going to fill in the tarn. The other Mossman is waiting for him to fulfill this task so they can begin to set up the Council of 1 at Seathwaite Tarn, my second largest tarn after Sprinking. The second then becomes all important — the center.

bb:

I did notice that this same Mossman shows up in the Oblong series on one, actually two of those S.F. related collages… *your* collages.

SF:

One and the same. They then attempt to create a microcosm of the whole Lake District on my mountain top, where Lake Grasmere is melded with the spirit of the Seathwaite Tarn, my tarn. Then the island appears. This is the same as the jut.

bb:

I didn’t know that, I don’t think.

SF:

The jut was broke off from the attached shoreline and set free. Free to float in the interior of the tarn. It turns into a monster. Then Grasmere itself is attempted to be recreated. But you know the story to that.

bb:

I know that this re-creation is depicted in “Some Things Were Ill Remembered” from that series. Grasmere was re-created, but crazily, like an M.C. Escher picture of some kind — especially the waterfall one.

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SF:

Moire effect.

bb:

It was then [after that collage] that I finally took the focus of the Oblong series away from you [Seathwaite Fell] and onto the Stonethwaite regions again, the focus of the Greenup series. Turns out there were a number of things I’d overlooked when using that region for Greenup collages. I missed, especially, Wet Rock. But then, in Floydadada, you indicated that Wet Rock was yours all along, and that it filled in the needed *center* of you re-created Grasmere. And you even borrowed it from a small megalithic stone circle to the east of you — drew it down through the long, u-shaped Ennerdale valley to you.

SF:

Sent it back the same way. Two in one. Who am I, then?

bb:

Should the Council of 9 had become the Council of 1, SF?

SF:

Tyle is born. Isolation. Sprinkling Tarn filled in.

bb:

But it did not last.

SF:

Didn’t it?

Hucka D. (jumping in): SF says that he’ll continue this another night and for me to mop up.

bb:

That’s fine, of course. In looking again at the collage it’s the willow diamond — or willows’ diamond — that seems more mysterious, perhaps, than the rest of the imagery.

Hucka D.:

Foreground mossman has just removed the jut and is about to fill in the tarn. Where does the jut go, then?

bb:

Well, SF said it was removed and made an island in the Seathwaite Tarn, Hucka D. The diamond in the picture formed by the willows, or willow, is one of absence. Portal?

Hucka D.:

Foreground mossman has just found something baker b.

(to be continued?)


“And The Secret Words Is…”

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“Alright Hucka D., let’s get to it.”

Hucka D.:

Ok, then: “Ant” is a leftover “word” from “Willows Diamond”, the preceding collage [in the Wheeler series]. That’s the “secret” word, then. Or secret world, perhaps. But what is “Ant”? In one way, it’s your friend Anthony…

bb:

Yeah, but I don’t think we should say his actual name.

Hucka D.:

Believe me, he’ll never read this. He’s got too much on his plate already. And that’s one of the points of this collage. You’ll never really hear from him again… until perhaps much later in life, when he’s more at the stage you are currently. Don’t worry about it… that’s part of the meaning. A lot of it.

bb:

Thanks for that. A lot of this, then, is about the inability to keep male friends as I get older. Or, really, when I was younger as well. It’s something that’s been hit home recently, especially. On the other hand, I get along strikingly well with all my women friends.

Hucka D.:

Women are generally wiser, that’s why. You are wise if not really wise. You are wise enough. Women are wiser than men, in general. Older in spirit.

bb:

Interesting reason. A lot of it is competition, which I don’t think comes from mainly my end any more.

Hucka D.:

All you are looking for is respect, which you deserve. You’ve worked hard, but that’s not the point. You are on a path. “And the Secret Word Is…” is part of that path, along that path. A true friend should ask you about what you’re doing creatively, for that’s a very large part of you. Otherwise, they really can’t be your friend. You have to have that creative connection. You can give, but you also have to receive. Since your line of work has little to do with your true interests, then that’s also an additional barrier for many people.

bb:

All my co-worker male “friends” are either considerably older or considerably younger than myself.

Hucka D.:

You must talk about these things. The blog is for that as well.

bb:

I think this collage does represent “another world”, like Anthony has his other world that he has to deal with now. Separate from mine. And that’s ok. But it’s not true friendship.

Hucka D.:

No. You must recognize that. Establishing someone as the “golden boy” because they helped you at a difficult time in your job is not the same as forging them into a lifetime friend. The forging has to be mutual. So you must look to who you really have. And that’s working out really well, isn’t it? It’s like everything, everyone, baker b. You have to self edit in life. The things that mark you stay with you. You don’t loose people, really. They stay with you. But you must also let go in the present moment. This collage animation you’ve just created is 2 worlds, two separate things that once were more one thing.

bb:

This is also, a bit, about Headburro Antfarm, perhaps my closest compatriot in Second Life, even though I never see the guy inworld.

Hucka D.:

It’s the blogs that unite you more. And also exploration of this quite fascinating virtual reality; you both are constantly amazed. And the tie-in with the Forest of Kahruvel, where you both are sort of “from”. As well as me, for that matter. Rodeo.

bb:

That’s yet another world.

Hucka D.:

Anthony did not want to know about SL, even though he knew you were really into it. That’s where he draws a line, because it doesn’t suit his own needs in education, and because his own compatriots do not agree with its premise of non-restriction. But this is what the subconscious really is, baker b. All this smut and sex and porn… there’s that, and also the really, really creative stuff going on. And there’s even overlaps between the two, if you want to get technical. That’s what your Ant. doesn’t like, like he didn’t care for the lesbian love scene in Mulholland Drive.

bb:

I thought it was very realistic.

Hucka D.:

Ant. is confused. We all self edit, you see. He edited out, in your talk at the coffee shop, your announcement that your closest compatriot in SL is half *ant*elope, half man. He literally cut you off at that point.

bb:

Yeah. He didn’t mean to. I’m sure I cut him off at times.

Hucka D.:

But it was a synchronistic moment, a telling moment. And it translates directly into this new collage, if you will notice.

bb:

Anthony *becomes* the Ant.

Hucka D.”

Right.

bb:

Let’s move on to other aspects of the collage… perhaps getting back to that particular subject later on. What amazed me about this collage is that the curtain or drape appears again in the background with the walking stick insect. Anther insect, like “Ant”, or “Ants”,and positioned just to the left of this blocked word in the collage. One of his legs also directly points to this central word.

Hucka D.:

But is the secret word — or world — “Ant” or “Ants”?

bb:

I guess it could be two Ants, since Anthony and Headburro Antfarm are involved.

Hucka D.:

Ant. is scared of synchronicity.

bb:

Yeah. A leg on the opposite side of the walking stick’s frame seems to project behind the see-through curtain. There’s an “A” just to the curtain’s left, in turn.

I should add here that the word “Ant” does not appear *causally* because I wanted to point out the Antfarm-Anthony overlap previously discussed. No, it is just the 3 letters leftover from the previous collage, formerly in the word “Restaurant”. The word “Ant” here is cued to the end of the “Resta” in the former collage.

The two remaining letters of “restaurant” also appear in Willows Diamond: “Ur”. All rest on that top line of the collage, where the background mossman also stands upon.

Hucka D.:

I think the two different mossmen represent the two different worlds in question, one you and one the “Ants”. Yeah, the overall synchronicity of the picture must be emphasized. You didn’t plan any of this… consciously. And the unconscious aspect physically manifested in, for example, the sign you found in a search for “The Diamonds” plus “Missouri”, that isolated the word “Ant” from a “Resaur*ant*” sign. That was before you started either of these collages.

bb:

The camera seems to represent a bridge between the two mossmen.

Hucka D.:

You take pictures of people and remember them that way. You *project* onto people and remember them that way as well. Turn them “golden”. You must extract the projection.

bb:

I was going to talk about the curtain, and the rather bizarre *synchronicity* with the almost same sized and same designed sign from “Willows Diamond”, one perpendicular in relation to the other. When you create the animation*, you can particularly see it.

Hucka D.:

The curtain is in front of the mossman’s head in the 2nd collage, while the twinned sign is behind the same mossman’s head in the 1st. We’re of course talking about the foreground mossman in this case. And also this image, the curtain that is, first appears in the 4th collages of the Wheeler series, just before “Willows Diamond”. This would be “Edward(ston) Station ((Gallery))” [ESG]. There a doctored face of one of the Beatles — Paul and not George, as you originally thought — emerges from behind the curtain. Is this the real face of the mossman in the second picture? Is his head facing the viewer now instead of away from it, as it was in “Willow Diamond”? Is that why it must remain behind the curtain? Is it too unbelievable to see?

bb:

Like synchronicity must be kept behind the curtain, sometimes. The concept of, that is.

Hucka D.:

The walking stick unites, like the walking path unites galleries on either side in your Yapland, like your Edwardston Station Gallery and the Ornaglpyhics gallery. You should study that art more, then.

bb:

Hold on, Hucka D. I’m going to go ahead and pull that collage up in a window as well and study further…

[baker b. pulls up collage image, as he said]

bb:

Ok Hucka D., I’m just going to leave that in a separate window, like the rest. Let’s move to the haystack in the front, then. Obviously this is another symbol of Seathwaite Fell, as it is strongly associated with Haystack Butte [Montana]and also the Lake District’s Haystacks in the Oblong collage series, also a part of my art 10×10 like the current Wheeler series.

Hucka D.:

Obvious.

bb:

Yet here the walking stick seems to merge with a stick protruding from the top of the haystack. There’s also the fact that the haystack kind of mirrors both the texture and color, to some extent — a rather obvious association can be drawn, at any rate — of the two purple trunked palm trees at the top of the collage.

Hucka D.:

The stick comes out of the hay. Both of ’em.

bb:

“And the Special Word Is…” seems to represent relative chaos in comparison to the order depicted in “Willows Diamond”. This is seen in the word “Diamond”, for instance. The blocked word DIAMOND is all in a line in the former collage. Here the same blocks — from the sign of “The Diamonds” restaurant in Missouri — are scattered across the left top of the collage. The beginning letter of the orderly DIAMOND, D, is kept in the second collage as if to emphasize the contrast. Newton and Jasper?

Hucka D.:

Right. Control and chaos. Two sides of reality.

bb:

To back up just a bit, I shoudl also add that the stick poking out of the top of the haystack protrudes through the willows’ diamond more clearly depicted in that part of the shared backdrop in “Willows Diamond”. This represents Seathwaite Fell itself.

Hucka D.:

More than that.

bb:

Ok, I’ll think about that. To close, perhaps, I should also mention that the palm tree(s) of “And The Secret Word Is…” and the willow tree(s) of the twin collage “Willows Diamond” both appear together in the first collage of the Wheeler series, “Benwheelerworld”. At the time, we speculated that they must, together, represent the new gallery in Stephen itself, directly resonating with the newly planted willow and palm trees there, directly in line with each other north to south, and in the center of the front of the gallery as well. Does this, again, relate to the gallery?

Hucka D.:

We better end.

bb:

Thank you.

* to create the animation yourself, pull up “Willows Diamond” and “And The Secret Word Is…” in separate windows and toggle back and forth between them.


“Stranger Than Strange”

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“Collage producing’s really starting to heat up Hucka D. I guess this same thing happened in the Hidlago series: around the middle the pace started to pick up.”

Hucka D.:

You have to relearn the art each series. That’s tough. But the correct way to proceed.

bb:

I saw especially my newest collages in a new way today, Hucka. As *funny*. Without any seriousness. Especially the last one I have a draft for, this “Stranger Than Strange.”

Hucka D.:

As Edna indicated, your works are both serious and funny at once.

bb:

Now it was this Stranger Creek Blog that I’ve actually added to my blog roll here which shed this new light on the collages. And, perhaps, our talking about them is also funny?

Hucka D.:

Yes. Ha ha.

bb:

I wonder if this is how Ant. saw them?

Hucka D.:

He probably didn’t see the meaning, or understand why you were doing them. I would venture to say, though, that this is the first *serious* art you’ve actually accomplished. It’s taken quite a bit of your time to do. Not a one hit wonder.

bb:

The 10×10 structure has kept me relatively focused.

Hucka D.:

The connections behind your art are becoming, um, stranger. Stranger than strange, then. Stranger. Anagram to Stanger still, though.

bb:

I don’t think I’m going to create an adequate interpretation tonight, Hucka D. I mean, “we” won’t.

Hucka D.:

Let’s give it a shot, though. Stranger Creek. This is an actual location in Kansas. But as you know now, there’s no town called Stranger Creek, despite the claims of the blog of the same name. You, however, didn’t pick the location because of the blog. You only learned about that afterwards. You only picked Stranger Creek because you forgot you were actually wanting to look up *Strange* Creek, which, for a while now, has been connected to The Residents, and I’m talking about the rock group now.

bb:

Classic rock I might add.

Hucka D.:

You first found these cliffs on Stranger Creek through another web site. But basically the same view of the creek is recorded in the photo fronting the greeting page of the Stranger Creek blog. You need to study that further.

bb:

This is obviously related to, especially perhaps, the 4th collage of the Wheeler series, or “ESG”. We have the SL photograph of The Resident in a neighboring gallery again, but this time all the faces have been either edited out or, in one case, replaced by another face altogether.

Hucka D.:

But you still have a Resident, because you have an eyeball topped head in a suit still, in the far right, lower corner. He is holding a kitchen sink, which we know comes from the Lake District once more, Rosethwaite in particular. It layed or perhaps still lays in a grassy field there. You must go. But out of the sink rises the Edwardston Station Gallery sign, or the top part, just as it was pictured in “ESG”. If you look closely, however, the eyeball seems more attached to the sign than to the suited body… there’s a gap. Then on the other side of the sign — left to the viewer — we have what’s called Wet Rock. There are 3 versions of Wet Rock found in this collage, just as in “Haystacks Hanging” from the Oblong series. So, what do you think baker b.? I think this is you and your gallery. The gallery and, especially, the new art within, from the new Wheeler series, such as the current collage “Stranger Than Strange”, rises up from a base of synchronicity — sink. What we’re talking about right here and right now.

bb:

I think it means *I* think that the Ornaglyph gallery is currently better than my own.

Hucka D.:

It is. As far as galleries go. As far as the advancement of a consistent style goes.

bb:

But the owner has turned into a Resident image. Not the Paul figure emerging from behind the curtain in “ESG” but from a more advanced album itself. Their most advanced album in many ways. This is the red face placed atop the similarly red face of the owner. I think it’s the owner anyway.

Hucka D.:

Red like Satan beside him or her, then. What does *that* mean?

bb:

It has to be a bit of a joke. You have the hand coming out from between the two hoofed feet. The Devil is sewing, and with a Wilson Wheeler sewing machine, like the ones in the second collage of the series, “Wilsonia Driver”.

Hucka D.:

Why don’t you pull that collage up, then, and stare at it. We’ll stare at it together.

(pause as bb pulls up said collage)

bb:

I’m not sure if I see any more connections between the two collages.

Hucka D.:

The grass, though. Both sew on “grass”.

bb:

I believe that’s a carpet in “Stranger Than Strange”.

Hucka D.:

Carpet of grass. Wilsonia. Carpet. Plants.

bb:

Interesting point, because Wilsonia backhousei grows into a carpet-like cover. Actually in looking it up it’s called a matforming subshrub. Mat instead of carpet.

Hucka D.:

Stitching together time. Making backwards forwards and visa versa. Wheeler-Wilson.

bb:

Maybe Satan here represents the Golden Dodder, trying to strangle out the Wilsonia backhousei again like in this former collage. Yes, in re-reading our interpretation of that earlier collage, Hucka D., I think Satan here is the strangling golden dodder. Strangling Wilsonia, the Green. Sewing and weaving its lethal magic.

Hucka D.:

Fabricated…

bb:

Like the Stranger Creek town itself in the blog. Fabric. Fabricated fabric.

Hucka D.:

The red faced woman is not really the gallery owner across from you now. She has been transformed into another fictional device, through the visiting Resident, which is now *you*. You are carrying your gallery in a sink like someone would carry a plant into an office he’s just moved into. Sometimes people make planters out of kitchen sinks, even. You have planted yourself in Yapland. Moved in beside the older gallery here. You can look in, *listen* in, to the older gallery any time you wish. Listen, look, learn. It’s a, “don’t notice me I’m just setting up my desk” kind of situation, but people do notice. They notice, they worry, then they move on to their own concerns. That’s one interpretation. But the red faced woman on the mat, um, green carpet is not really the gallery owner across the way any longer. She has become a reflection of the red Satan beside her now. She has become the strangler herself of Wilsonia. She holds a dead fish on her lap.

bb:

Several of the pictures elements of “Stranger Than Strange” 1st show up in the 10×10 in this collage from the Greenup series, called “One Pink.” We have the suited eyeball fellow again. We have the dead fish and also the bird sculpture. I suppose that’s it.

Hucka D.:

Why don’t you finish this collage tomorrow, study up on that Greenup collage in Floydada, perhaps, and we’ll chat more tomorrow.

bb:

Thank you.


“Stranger Than Strange” (2)

bb:

“I think we should continue on this particular collage, Hucka D.”

Hucka D.:

STS, as you now know, is *not* a joke, or it *definitely does* have its very, very serious side. That is of healing.

bb:

Of [delete name], you mean.

Hucka D.:

Yes.

bb:

This involves the ritual murder.

(Hucka D. very inappropriately laughs for about 45 seconds here; finally composing himself, he continues)

Hucka D.:

Sorry. That just struck me… um, I guess we should leave all that alone, actually.

bb:

Another thing that occurred to me is that the dead fish represents this particular Stranger Creek, and the bird sculpture floating directly above it in the picture is basically all the other Stranger Creeks of the US lumped together. Literally in this case, because 3 of the remaining 4 all line up in Washington state, one right after another. [the 3 lumped together birds stand for the 3 lumped together Stranger Creeks, that is.]

Hucka D.:

Ascension, you mean.

bb:

Perhaps. The woman on the birds who can’t see over the top of them, apparently, represents blind airiness (birds) without groundedness (fish) as well. Too much thought?

Hucka D.:

The Wet Rocks are all around. Same as the more centrally located twins in “Haystacks Hanging” (from the Oblong series). 3 versions of one rock. The rocks have ears. The rocks are ears.

bb:

The rocks are present because of the relationship of Stanger Gill there and Stranger Creek here. Stanger… Stranger [and Strange]: anagrams. The rocks have, once again perhaps, wandered up the wrong stream in search of their origin. Before it was Stanger Gill; now its this creek. They are confused, once again, because of some name similarities.

Hucka D.:

The rocks go where they must.

bb:

This Wet Rock was what S.F. was looking for on his mountain. He forgot it was in the Stonethwaite valley just to his north and east. That was *his* missing piece.

Hucka D.:

I think we’re about ready to move on beyond this one, baker b.

bb:

Thank you.


“Omaha & Specific”

wheeler08real16smaller1

“We’re rolling along now, having finished up #8 Hucka D.”

Hucka D.:

You had to move quickly, it seems, to resolve the bad taste of that last one. You have the angel of death in the center, the greenish, hooded statue. She is holding a giant magnifying glass whose lens is replaced by a flying red parrot. The giant, inverted — color-wise — parrot to this parrot is to the left of the angel of death. Unlike the former, it has no head, which has been replaced by a square window with the face of a man holding a flower within. The two parrots, headless and headed, face each other over the top of the angel of death’s head.

bb:

The man in the window supposedly represents a demon, Hucka D.

Hucka D.:

I think he was referred to as a daimon in the blog. As one of the definitions of a daimon is a guiding spirit, this may not be an evil personage, then.

bb:

He *is* holding a flower.

Hucka D.:

All of the picture elements we’ve been talking about, along with the snow covered statue more in the foreground, are new to the Wheeler series.

bb:

I believe the snow covered statue represents the missing child who has passed into the death realm, Hucka D. Or the equivalent thereof, at least to our watching eyes.

Hucka D.:

I would agree. But I also think the red parrot over her head represents a different type of life that has replaced the first life. What did the blog say? That Stranger Creek had moved off its grid in the past. That’s why no one can see it.

bb:

But I think the child in the “Missing Girl” series has died and passed on. (pause) Actually, in rereading post 4 of the series, I believe the girl stayed off the grid but moved to a parallel city of Sumida, in Tibet. Perhaps a sister town of some sort to Stranger Creek. But both are clearly designated as being “off the grid.” Just as Stranger Creek is no longer part of Kansas, Sumida is no longer a part of Tibet.

Hucka D.:

Yes.

bb:

In reading further, Hucka D., I see that the girl Suzanne, who is apparently also dead, leads the Missing Girl, Samantha, to a man named Chen Yet Chen, who then tells her she must go to Sumida. All this, though, seems to revolve around bringing a tiny god to life who currently resides within an 8 inch long casket. Pretty crazy stuff, Hucka D.

Hucka D.:

Interesting that you’ve put the blind Wilsonia Driver in the new collage, again, but in a diminutive state as well. She apparently is riding — driving? — the train that is coming out of the hearth the snow statue stands above. The statue also seems to be providing the string for Wilsonia’s continued sewing.

bb:

She is pointed the opposite way from her original incarnation in the Wheeler series, in collage #2. She drives away from the redwood tree, the General Grant, instead of blindly toward it. The snow statue seems to be helping her?

Hucka D.:

Wilsonia Driver is the god. She/he is resurrected. She is reborn.

bb:

The sinister smile of the demon Resident in the background has been filled in by the edge of the hearth. Demonized Paul, I mean.

Hucka D.:

The sink the snow statue seems to be slightly tipping over to provide Wilsonia with needed thread represents synchronicity itself, along with your gallery in Healy. Heald; healed. It also represents being healed by surrealism itself.

bb:

How so?

Hucka D.:

The image she is riding, or driving perhaps, is a famous symbol of surrealism itself. By Magritte. Just like the sewing machine is another famous image, because of Andre Breton’s famous quote about the work of a certain surrealist poet being like the chance meeting of an umbrella and a sewing machine on a dissecting table.

bb:

This seems to be the corrrect interpretation! We’re certainly moving along the right lines at any rate.

Hucka D.:

Train line. Rails.

bb:

In comparing the two pictures more, the train is about the same color as the golf driver in the older one. And there is a vehicle in the older one as well, but a car in that case. And one that seems out of control in comparison to the train in “Omaha & Specific”.

Hucka D.:

They have brought the god to life.

bb:

Thank you.


“Loose Thoughts…”

Taking “notes” for Wheeler collage #9 now. Since Rose Hill related images popped up in #8, thought I’d travel further down that particular line. Googled “196833” images and second hit was photo from Rydal Water. This certainly seemed significant. So I looked up Rydal related images, remembering that collage #9 of Yale series, kind of a twin to the Wheeler series, introduced Rydal and Grasmere images into the art 10×10. Thinking also of the “Monster Island” in Grasmere Lake that Wordsworth was so fascinated by.

Wonder if there’s more I should write about on collage #8 before moving on.

This also relates to the end of the Rose Hill series, collage #10 (non-aminated, unlike the 10th of the Yale series and, projected, Wheeler series), and the 273×721 rectangle in the center. Hold on…

*****

Baker Bloch is inworld now, reviewing the Rose Hill series and paying particular attention to the last half of that series (collages 6-10). Collage 8, 9 and 10 all have the same two parrot images as “Omaha & Specific”. I can’t remember if I took notes on those collages at the time or not… just remember that I did for the first collage of the Rose Hill series. After that I think it was sketchy.

But at any rate, Monster Island is being zoomed in on once again, like it was at the end of the Yale series that succeeds the Rose Hill series. Monstrous Moonshine. The Stranger Creek labyrinth seems to be left behind. Hucka D., you there?

Hucka D.:

What’s on Monster Island?

bb:

Chance meeting?

Hucka D.:

273×721. Find it.


“Words Worth Savings”

wheeler09real18smaller

“This is, again, a draft (2/19: NOT a draft now!), but I think I have enough in place to work on an interpretation, at least in a preliminary way. So let’s bring in Hucka D. again to help. Hucka?”

Hucka D.:

You start.

bb:

OK. The last thing I added to the collage was the Rydal waterfall in the center. At first I only had an enlarged “campfire” there, which I think stands for a portal, Hucka D.

Hucka D.:

You found it on the shore of Rydal Water. The photographer didn’t know what to make of it. You saw it as a potential portal symbol, and saved the picture. It has paid off. Congratulations.

bb:

But then I added Wordsworth’s gravestone, curiously mirroring the top shape of the rock structure toward the bottom of the collage draft, beside the bottom of the waterfall now. But I have the feeling that the gravestone, or Wordsworth’s presence perhaps, opens up this water portal, which I originally planned as a fire portal, like the one in the Bar Harbor sim, potentially.

Hucka D.:

It didn’t turn out that way, though, huh? Water instead of fire. Wordsworth.

bb:

Let’s move to the beginning of the collage structure now. The first element added to the base photograph, which is a scene from Rydal Water again, is an album cover of Burl Ives called “Songs of Ireland”, released in 1958 by Decca.

Hucka D.:

Then one and only one corner of the album was removed for the second move of the collage game. This exposed the Rydal Water photography underneath it.

bb:

I had already started a different Wheeler #9 collage before this, also using a Rydal scene.

Hucka D.:

That base may still be used for another collage. Jasper.

bb:

Anyway, I believe I immediately made the association between this photograph and the scene on Burl Ives’ album. I thought it could work together. Stone walls obviously, but also the colors were similar. I was originally attracted to the Burl Ives’ album, which I’ve had stored on my computer for several years now, because of the very red haystacks. This was also an inspiration to use it in a new collage, since the haystack image has come up again in the Wheeler series [collage #6].

Hucka D.:

It’s the stone wall that unites the Ireland landscape in the album cover and the Rydal landscape. That one wall. And the removed corner exposes the rock structure that has the same shape as the Wordsworth gravestone. The gravestone could not have been introduced into the collage later on unless that was exposed.

bb:

There’s a similar rock jut at the bottom left hand corner of the album cover as well. (pause) So this probably brings us to the Hunt City sign. As it turns out, the Hunt City sign in the picture (unaltered from its original web dimensions), the one at the city limits I assume, is basically the same length as the height of the corner piece removed from the album. The *second* part of that sign, where it says “Home of Burl Ives”, is the same length as the *width* of that same corner piece.

Hucka D.:

You forgot to mention that when you trimmed down the album cover of the excesses on each side and at the bottom, you were able to deduce that the actual cover itself — the only version of this cover you were able to find online — is about 512×512 pixels. This may, then, related it to the base parcel of Second Life, which is 512 square meters. And also the square sim itself, which is 256×256 meters, or half 512.

bb:

Right, exactly. This has something to do with a sim… the album cover is a sim. Today I have to carefully measure the cut out and the related Hunt City sign to further clarify the situation.

Hucka D.:

We have more to talk about concerning this collage for certain. Parrots… SL tie ins… and the Monster number. Monstrous Moonshine.

bb:

Thank you.


“Words Worth Savings” (2)

“Let’s continue then, Hucka D. The draft has turned into the final collage now, as of today.”

Hucka D.:

Fine work. This one is different. Outwardly it may not be as impressive as others in the series. But it has an internal beauty. This one is different.

bb:

You’re talking about the mathematical proportions of the collage here, I assume.

Hucka D.:

Yes.

bb:

1st off, Rydal Water, or the Rydal area of the Lake District in England, was pointed out through the 196833 image. The photo I’m speaking of comes up 3rd now in a google search for 196833 images, as we’ve already talked about.

Hucka D.:

But then the jigsaw parrot comes up soon in a search for 196883, the actual Monster number. 50 more than 196833. That’s a central mystery, then, this relationship.

bb:

I know I’m not going to be able to currently figure out all of the meaning of this collage, but let me tell you what I have.

Hucka D.:

Go ahead.

bb:

We’ve talked about the original, simple juxtaposition of this collage. It starts out as a photograph of Rydal Water. That’s the base, I mean. Then we add the Ives album cover, but trimmed of excess to become a perfect 512×512 pixel square. Since the overall picture is 1024 x 768, this means that the album cover is precisely 1/3rd the size of the overall picture.

Hucka D.:

Then the corner was removed. Lower right of the album.

bb:

The corner piece removed turned out to be 288×173 pixels, Hucka D.

Hucka D.:

But you had to remove essentially that particular size of a chunk in order to best synchronize the album cover picture and the Rydal base photograph.

bb:

Precisely. It was mainly done through the stone wall they share. That’s an important point. That’s a main “cue point’ for the collage as a whole. And to emphasize that space, that cue, I’ve now highlighted the 288×173 chunk in this final draft through a pink outline.

Hucka D.:

But there’s, then, another pink outline, about the same size, on the right hand side of the collage now.

bb:

It’s the same size: 288×173 pixels. Turns out that the Hunt City sign I added to the collage is around 288 pixels long, same as the height of the chunk.

Hucka D.:

We’ll return to that. How about the yellow-green rectangular outline found in, let’s see, 3 different parts of the collage in this case?

bb:

This is the size of the rectangle formed by the length of the remainder of the Rydal photograph below the album still, and then the width of the corner chunk itself. It’s,then, 113×173 pixels. The Hunt City sign had a smaller sign attached to it, just below the main sign. It said “Home of Burl Ives”.

Hucka D.:

Burl Ives was born here. In this tiny Jasper County hamlet.

bb:

That’s right. The smaller sign turned out to have the length of the other side of the corner chunk, though. 173 pixels. So I decided to fit it with one of those 173×113 yellow-green rectangles, and also have it exchange places with the “Burl Ives” written on the album cover, which comes before the title “Songs of Ireland”. The two “Burl Ives” exchange places within the collage.

Hucka D.:

Let me see: the length of the larger Hunt City sign is the longer dimension of the corner chunk. The length of the smaller Hunt City sign is the same as the shorter side of the same chunk. 288 and 173 respectively, then.

bb:

That’s right. But there’s more. The red grass block to the left of the lowest yellow-green outlined rectangle turns out to have a precise 3:1 ration, or 113×339 pixels. Let’s look at the top part of the Rydal photo above the album cover, then. It has a height of 143 pixels, or 30 more than the bottom part below the album. 113+143 then make 256, or 1/2 of the 512 length of the album, which is a perfect 512×512 square. This is not the odd part, though. The odd part is that this 143 height is essentially half the longer dimension of this corner chunk, as we’re calling it. *Also* it is the *height* of the larger Hunt City sign, the main sign that is, which is 144 pixels.

As I said, I’m still studying these ratios, but there seems to be an intricate working relationship between the various parts of the collage as the studying stands already.

wheeler09real18smallernumbers

graphic illustration of some of the number ratios we’re talking about in this post.

Hucka D.:

I like the way you can insert a Hunt City sign above the album and have it fit perfectly snug into that spot height-wise. But then, if I’m reading this correctly, this creates an implied square of 224×224 on the album itself, caddy-corner to our hypothetical displaced sign and the area exposed by the removed corner.

bb:

I think you’re correct on that.

Hucka D.:

Then the jigsaw parrot of the collage, doubled by a color inverted parrot once again, seems to emphasize the jigsaw nature of the collage as a whole. The one you found in a search for 196883 images. They’re both sitting on the far right rock wall. Between them and to the left is a portal, created by a circle of rocks once more. Just like the one you found in the Bar Harbor sim. Originally you thought the fire would create a portal, but now you see it is water. A stream flows from it, magically pouring “down” the level meadow toward the graphic double of Wordsworth’s grave stone: the rock shelter exposed by removing the corner album chunk.

bb:

As I said, that waterfall, which is the Rydal Falls, is the last thing I added to the collage. I think it has to be there.

Hucka D.:

The parrots seem at peace on the fence. They merely watch now what’s happening to the landscape around them. They seem even to be sentries for some kind of energy passing from the Wordsworth stone, through the open space between them [centered by the cuing fence mentioned before], and then to the portal. Wordsworth opens the portal, that’s for certain I think. What has been opened, though?

bb (after a pause):

Well, I think we’re going to have to come back to this later on after I do more studying.

Hucka D.:

Don’t forget the relationship between the two largest islands of Rydal Water. You can see them at the top of the collage.

bb:

OK. Thanks, as usual (smiles).

*****

“Hucka D., before I forgot I just wanted to add that I think the two parrots in the collage represent life and death itself, inverted to each other, you see. And the portal represents a birth into life from the death state.

Hucka D.:

What is being born, then?

bb:

Well, I suppose it could represent the birth of Wordsworth himself, since the water [of life] flows from the portal “down’ to the rock enclosure that seems to directly resonate with his grave.

Hucka D.:

Burl Ives, as well, was born in Hunt City or thereabouts.

bb:

The parrots are yin-yang, then. One cannot exist without the other, like we cannot live healthy days without nightly sleep.

Hucka D.:

Taijitu.


“Ives Got It!”

wheeler10real06smaller

“A simpler one to end. Nice relief!”

Hucka D.:

It is done except for the polishing of the 10th. Well done!

bb:

Thanks, but you helped a lot. I have to give you a lot of credit. But we have no rest, perhaps, because the Jasper series is coming up immediately.

Hucka D.:

Very.

bb:

I’m going to pull up Wheeler Collage #10 and animate it with Wheeler Collage #1 for an interpretation. Give me just a second… (pause)* First off, we have the two truncated trees turned upside down from each other in respect to “Benwheelerworld”. This would be the willow and the palm beside Mossman in the older work.

Hucka D.:

And hiding two Mossmen as well. This hiding makes the title of the sign to the left more apt: there is only one Mossman now. Or is there?

bb:

Anyway, so this reversing of willow and palm between the two collages, #10 and #1 of the series, is obviously related to the same between collage #5 and #6 of the Wheeler series, or “Willows Diamond” and “The Secret Word Is…”. In the former you have the willow but not the palm, in the latter the reverse.

Hucka D.:

It seems that because the palm and willow are placed opposite what they are in either of these two central collages, that the current collage, “Ives Got It!”, is a resolution of some kind for the series. What does “Ives Got It!” mean, then?

bb:

Ives is present in the collage, this time as what one could call an “avatar”. This would be the snowman Ives famously voiced in the Christmas classic “Rudolph the Red Nosed Reindeer”. I believe the yellow submarine the Ives-snowman is pulling out of the field of similarly yellow or golden grass here would substitute for Rudolph in this case. And the glowing nose of the reindeer, the saver of Christmas, becomes the nose of the sub, instead.

Hucka D.:

Ives tells the story of the saving of Christmas, then. He relays events that have already happened.

bb:

Somehow the saving of Christmas also, then, causes the appearance of the single Mossman in the midst of Ives-snowman and yellow sub.

Hucka D.:

I believe this represents the appearance of the Wheeler series as a whole, starting with this collage #1. End has switched back to beginning; the snake has swallowed its own tail. Orobourus.

bb:

And then I guess — turning to the sign on the right — that “City Hunt” is also a part of this overall reversal demonstrated in “Ives Got It!”, like the reversal of the palm and willow. This is, however, reversed from its state in the collage immediately before #10, or “Words Worth Savings.”

Hucka D.:

We have a little more work to do on that one, though.

bb:

OK, we’ll maybe get to that probably tomorrow night… maybe tonight. But Hunt City becomes City Hunt. I believe this has to do with the Mossman sign that it turns into in the switch from 10 to 1, again. I think the city hunt referred to here is the hunt for the Mossman sign, which is an actual town sign in Australia. This is then, again, a transformation of a reversal into a singular version of Mossman.

Hucka D.:

The position of the palm and willow in #10 mirror that of the Stephen gallery. We must also talk of that tonight if we can.

bb:

Well… briefly, I think I may have to give up the Otherland property and gallery. I now rent a second gallery space on the mainlands, and I’m beginning to understand that the Otherland one will never be frequently visited. Heck, even the really, really cool Verloren Castle, sitting right on the ground and in the center of everything, as far as centers in Otherland go, doesn’t get that many visitors, perhaps a couple a day — could be wrong there.

Hucka D.:

You must stay on Otherland at least another month. Then decide the next step. You have your two, cheap mainland gallery spaces now. You’ve freed up room to insert the Jasper series into the primary of the two: the Edwardston Station Gallery in Healy. You must focus on all-things-Jasper now. You are wrapping up an important, long term project. Very important.

bb:

I can’t see beyond Jasper then, or the 10×10.

Hucka D.:

You can but in a more limited way that at the end. Getting back to the collage interpretation, these two men around the sign seem to be playing golf. Has the man to the left lost his ball, perhaps?

bb:

This is the same man as in the third collage of the series, or “Bigfeet”. There his foot overlaps the foot of a red fox.

Hucka D.:

I believe this is a reference to the Cinderella story. The shoe fit in Healy, though. You found your correct fit. The ruby slipper. One, in this case.

bb:

The golf bag full of clubs is obvious reference to “Wilsonia Drivers”. The man is hunting his golf ball, perhaps, like we, as a whole, are searching for the way out of the collage series. And the hunt ends with finding the correct city or concept: Mossman. “City Hunt” turns into or is resolved by “Mossman”.

Hucka D.:

Interesting that in this draft, the word “Ives” is partially obscured. You’d probably have difficulty in making out the word if you weren’t familiar with the previous collage of the series. (pause). There’s also the possibility that Mossman is a Christ figure, since there are three posts holding up the Mossman sign…

bb:

…and that particular aspect might be transferred into the first of the Rose Hill series, just guessing by some rough drafts I’ve already concocted for the first collage of that one.

Hucka D.:

We are about ready to end and move on.

bb:

I should also point out that the obscured Mossmen or Mossman has 3 feet, just as there are 3 pictures of Lambfoot Dub tarn in “Bigfeet”, the collage that the men of this particular collage “come from”.

Hucka D.:

Could be visa versa as well, though.

bb:

Right. One of the Mossman/men feet is now obscured, in turn, by the Ives-Snowman.

Hucka D.:

That would be the correct foot. The one in the future.

bb:

Alright, we’ll just leave it at that.

Hucka D.:

Also: congratulations on the 1st birthday of the blog itself. You’ve created a lot of posts!

bb:

I don’t see it slowing down very soon either, although it has shifted away from SL a bit since the end of October. First Carrcass-1 had to be dealt with, and now Wheeler-Jasper. In-between: the Ubertemple(s).

Hucka D.:

You’re not finished with Otherland.

bb:

No.

* Once again, the reader can create this animation themselves: just toggle between this image of the newer “Ives Got It!” and the older “Benwheelerworld”.


“Nonsectarian… ant”

jasper01real12smaller

“We’re going to make a stab at this tonight. Hucka D., are you there?”

Hucka D.:

1st of the new series. Good that you went ahead and took the leap, again.

bb:

I think this relates largely to the gallery situation I have now. I have 2 Edwardston Station Galleries…

Hucka D. (correcting):

…No, you have 1 ESG split into two parts, basically old and new. The Edwardston Station Gallery, for now, has become the same as the 10×10, throw in a tiny lounge in Healy and a tiny patio area in Seefeld.

bb:

Alright, then beyond these 2 we still have, of course, the Otherland gallery, which I call the Gallery at the Temple of TILE.

Hucka D.:

That’s the one that has to go.

bb:

I’m not sure I’m ready to take that leap, Hucka D.

Hucka D.:

I built it… remember?

bb:

Let’s turn our attention to the 1st collage of the Jasper series, or the draft for this collage (2/27: this one’s *done*), for it’s not polished up yet. To the left you have what I would consider a symbol of the Seefeld tower that one of the halves of the Edwardston Station Gallery — that better? (Hucka D. nods round head here) — lies within. This is a combination of a skyscraper but also a Christian cross, like a grave stone, once more. Hucka D., would you agree with this?

Hucka D.:

Of course.

bb:

Many picture elements found in the Wheeler series [immediately preceding the Jasper series] recur in this one. The Wilson driver, for instance. It has merged with the vertical dimension of the cross. Up and down at once.

Hucka D.:

Yes that image had to be in that particular place as well.

bb:

I’m also reminded of the cross shape of the old ESG in Rubi, in one of its incarnations. This was when the north-south subway system, a longer affair, was crossed by the shorter Arab ship on top of it. Then we have several grave crosses right next to the subway system — a tiny cemetery, in fact — just below where you could get on the spiral ramp that led up to the Temple of TILE, in those days.

Originally I saw the base photo of the collage, which we should insert here is from Landdswynn Island in Wales, as representing this “tension” we’ve mentioned between the two sides or two different spaces of the Edwardston Station Gallery, one in Healy and the newer one in Seefeld. In fact, in the wikipedia article on the subject, I find we have almost an identical photo to the one I used, incorporating the cross and the lighthouse. The lighthouse, then, on the opposite side of both of these matching photos from the gravestone cross, would then stand in for the Healy version of ESG.

Now, but this is the crucial part. *In-between* these objects and their matching hillocks are islands in the ocean, which I also identified with Otherland and the 3rd gallery I possess, or the 3rd gallery featuring my 10×10 and art, I suppose I should say [since two of the 3 are rented]. So one of my first moves in the collage was to insert a picture of the 3rd, “other” gallery here, the only one that’s actually on property that I bought and own, between the two. The main island here, with the cross and lighthouse, would represent the SL mainlands, where the 2 ESGs are. The islands offshore are “other” — Otherland, far from the mainlands and, in contrast, estate property, like Azure Islands also is estate land. The Gallery at the Temple of TILE, hovering 601 meters above the main Otherland island, is thus similarly hovering over these 3 small offshore islands, which may also stand for Otherland Islands #1, 2 and 3, as I’ve called them in this blog.

Hucka D.:

Interesting that the view of the collage is much more focused on the foreground and developing it through added imagery. This represents your heavy involvement with the mainlands again, now. The cross superimposed by the driver is closest because it is the newest…

bb:

And further west from the Healy gallery on Sansara. I think this island, Llanddwyn, also represents Sansara, the oldest SL continent that both versions of ESG are on now.

Hucka D.:

Two peaks of emphasis, then.

bb:

Right, yeah.

Hucka D.:

You also know that the walking stick insect reappearing here, once more [as it did several times in the Wheeler series] represents the Yapland gallery complex the Healy ESG is a part of. And from that curtain the insect appears to be holding, almost, emerged the daemonic head of Paul the Beatle. But now we have the Beatles returning, in the new collage, in their natural forms, one could say. Without any Residents influence. They haven’t been stolen yet for Resident purposes. Their likenesses on Meet The Beatles hasn’t been transformed to Meet The Residents. Paul remains undaemonized. He has somehow been freed, it seems, with the establishment of the Seefeld ESG. Christian influence?

bb:

The black and white Beatles below the curtain or screen — black and white like the demon Paul head emerging from the curtain in the “ESG” collage [#4 of the Wheeler series] — 1st appear rather early in the Greenup series, the first series of the 10×10. This is an old image within the 10×10, then.

Hucka D.:

Interesting that, originally in this draft, George Martin directing The Beatles here was riding on the back of the dingo that now stares forward from the path below, directly at the viewer. But one could still say the dingo provided, er, a landing for The Beatles from the curtain above them here, before moving, then, to the path.*

bb:

These Beatles are definitely a focus. I think there’s also one image remaining to be inserted into this new collage, Hucka D., and that’s…

Hucka D.:

Crow. Rook. CHRO.

bb:

Yes. (pause) Do I need all *3* galleries presently, Hucka D., in order for the 10×10 to be finished? I’m thinking the mainlands ESG represents a split, only united by the background Gallery at the Temple of TILE, which contains the *entire* 10×10, or soon will. It’s in the center between the two.

Hucka D.:

What happens now if you then destroy the Otherland gallery?

bb:

The center is removed. But this might be a good thing?

*****

bb:

Hucka D., maybe the curtain covers the uncertainty about Otherland itself. The temple is not covered. The temple can carry forward. But perhaps not on Otherland now.

Hucka D.:

You have the strangled Wilsonia beside it [to the left], also representing Otherland and islands #1, 2 3, per the “Bigfeet” collage. The Wilsonia backhousei leaf that clearly represented Otherland Island #3 in that earlier collage now touches one of the 3 background islands of the new collage. Pretty obvious that the offshore islands are then Otherland, eh?

bb:

The curtains are being closed on Otherland? Just like that?

Hucka D.:

The temple and attached gallery will live on, though.

bb:

The Sgt. Pepper head on the lighthouse hillock reinforces its assoc. with the ESG-Healy gallery, Hucka D. Yaplanders all.**

Hucka D.:

That’s only one of three energy complexes now, though.

bb:

I suppose the Council of 1 spinning in the sky represents the everpresence of [delete name] and his high gravity influence.

Hucka D.:

Watch out!

bb:

Way above and beyond SL currently.

Hucka D.:

Red Verses Blue. Rooster Teeth. Rooster Springs. Roostre.

bb:

Thank you. We may continue this analysis of Jasper 01 later on tonight or at least tomorrow.

* 3/2: The dingo/dog was subsequently removed entirely from the final draft of the collage. However, he may reappear in Jasper 03 (?)

** 3/2: head from Sgt. Pepper also removed in final draft.


“Nonsectarian… ant” (2)

“Hucka D., hopefully I can finish Jasper 01 tomorrow. Haven’t even got a name for it yet.”

Hucka D.:

Try now.

bb:

How bout… “Across The Bay”. No, that doesn’t quite hack it. Do you want to try more of an interpretation tonight?

Hucka D.:

Yes… rather quickly. You found this island, Llanddwyn, through the wikipedia article on the mineral jasper. On the currently ending sentence of the entry, Llanddwyn Island is mentioned has having examples of what is called “healed, fragmented rock” that “produces brecciated (broken) jasper”. So, bread crumb trail like, again, you were led to the island. The collage doesn’t really give a clear picture of the jasper on the island — perhaps you can rectify that in a future collage or 2, but the trail is clear enough. What now, that you’re on Llanddwyn Island, though? Well, now you head into the woods to the north and off the island, into Newborough Warren containing those densely planted Corsican pines.

bb:

Very similarly packed, in fact, to the pine forest I found on the what I though was called Corsica Island at first, but turned out to be the name for the inclusive continent. That forest is gone Hucka D., by the by.

Hucka D.:

Not surprisingly. Few forests seem to stay intact long in SL any more.

bb:

Interesting also that there was a BBC program about the *ravens* in Newborough Warren, Hucka D. Do you think our Jasper The Crow or perhaps Jasper The Rook or Raven comes from this place?

Hucka D.:

Well… let’s ask. Briefly again.

Jasper The Raven:

I am. I did. I left. I here.

bb:

Hello Jasper. You are leading us down a breadcrumb trail, no?

Jasper The Raven:

Yes. No.

bb:

Jasper The Raven/Rook/Crow, I believe that the forest represents a place beyond SL, which may be the same as Lllanddwyn Island. Beyond the mainlands and also all the little satellite estates, like Otherland and also Azure Islands. The two Edwardston Station Galleries on the mainlands…

Hucka D. (jumping in):

Again: there’s only one.

bb:

Sorry. The *split* ESG mainland gallery… anyway, the island is Sansara, but also all mainlands. Jasper?

Hucka D.:

He flew away. You were too windy for him tonight. Plus you need to get more sleep. The forest is a magical place. Go there.

bb:

Thank you.

*****

“Hucka D., in looking up links on Sansara, this one came up near the top — and mentioning my *other* Sansara landlord currently. And also the very nice creator of the Seefeld tower.”

Hucka D.:

The bed is that way.


“Doorpick”

jasper02real13smaller

“Quickly today, what’s apparently the second collage of the Jasper series has popped up, or at least a draft of this collage. Hucka D.? Ready?”

Hucka D.:

We are obviously in the Newborough Forest or Warren now, and with Jasper the Crow or Jasper the Rook or Jasper the Raven.

bb:

By this you mean the raven to the left in the collage.

Hucka D.:

Yes. Now what does Jasper continue to speak with you about?

bb:

I think it might be other responsibilities outside of the virtual reality of Second Life. The responsibilities of other, creative projects that can’t take place in SL… don’t have a gallery for those kind of exhibits.

Hucka D.:

Correct. That’s why the hatted eyeball looms so large inside the forest, in its center perhaps. But where is the door back from virtual reality? Crouching Baker here seems to be attempting to pick the door separating the two, but, foolishly perhaps, attempts to pick the doorknob instead of the actual keyhole. Standing Baker is looking *toward* this keyhole, but his direct vision is blocked by a tree. The keyhole is actually in the middle of the giant eye… it substitutes for its pupil. It is the pupil. This is a simple yet effect collage for conveying a certain meaning, baker b.

bb:

We should explain that both of the identical humans in the picture are me, baker b. Both are edited out of Edna’s photographs of a place called Korner’s Folly in Kernersville, NC.

Hucka D.:

I’ve seen them in your collages before, I believe.

bb:

Yes, they first appear in collage #10 of the Greenup series. Both what I call Crouching Baker and Standing Baker are there. They reappear, then in collages 14, 15, and 16 of that series. It seems relevant to say here that 10-11 and 15-16 are those animation collages I’m so fond of, and which reappear around every 4th collage of the overall 10×10. Dormant in the subsequent Rose Hill series, Crouching and Standing Baker make their next appearance in the Yale series, and yet again in animation related collages. This would be the 6th collage of that series.

Then both make a sort of cameo in both Newton 08 and Oblong 01, along with a lot of other images from the 10×10. They also do not appear in the Hidalgo series just completed, nor the Wheeler series.

Hucka D.:

They seems to be attached to the concept of “diamonds” in these pictures a lot. Like the present one.

bb:

When they first show up, in Greenup 10, they are physically positioned within, or symbolically within The Diamonds restaurant in Gray Summit, Missouri. The setting is not exactly this restaurant, but the association is understood in the series, since in the previous collage the actual restaurant is shown from a distance, albeit in a surreal location [top of a Lake District summit]. I’m going to log into SL, Hucka D., and take a closer look at those collages at the Otherland Gallery.

Hucka D.:

OK.

*****

bb:

Alright I’ve looked over all of those. Actually, I didn’t see either of these two Bakers in Oblong 01, so the most complex or most dense collage they appear in is Newton 08.

Hucka D.:

Time for a 10×10 Lexicon, my friend baker b.

bb:

I suppose so. But the only picture the Bakers actually appear *together* are Greenup 10 and Newton 08, and, now, Jasper 02. Of these only Greenup 10 is a so-called animation collage. [incorrect: they appear together in the animation collage Yale 06]

Hucka D.:

I noticed in looking through your eyes just a minute ago at the gallery collages, or was reminded, that the eyeball man that is later identified with a Resident first appears in Greenup 11, the animation twin of Greenup 10. What does this figure stand for?… obviously the Crouching and Standing Bakers stand for the collage artist himself… you.

bb:

Well… I think that’s the thing we can’t really talk about in a great deal of detail here, Hucka D. But it’s [delete name], obviously, to a large extent anyway.

Hucka D.:

Just saying the name makes me almost faint! So what’s he doing here in this new collage?

bb:

Well, like I said, I think he or it represents something beyond SL right now. The door referred to in the collage is the door back to reality. Trouble is, the Bakers don’t seem to know where the keyhole is… it’s the same as the pupil of the Resident. They can’t see it for some reason.

Hucka D.:

It’s the door beyond the 10×10.

bb:

Maybe.

Hucka D.:

The diamond willow stick that weaves through the trees is both a pencil filled with graphite and a diamond, like a record player needle. Groovy.

bb:

Walking stick, again, like the insect. Both found, syncily, in a search for “The Diamonds” and “Missouri.”

Hucka D.:

But Crouching Baker seems to be using the stick in a faulty way here. Or — maybe — a sneaky way. Maybe he’s actually getting the work he needs to get done *done*.

bb:

Well, I’m at least getting collages done, Hucka D.

Hucka D.:

This may be Standing and Crouching Bakers’ last appearance in the 10×10. So tied into their first appearance, and since the 10×10 goes in a giant circle anyway, closer to the Greenup series than the Newton series.

bb:

True, I guess. The Resident will soon return to his obscure beginnings. The eyeball head remains just that in Greenup 10, although it’s really The Resident.

Hucka D.:

The Bakers’ seems to be involved in collages of trickery in perspective, like this one and also Greenup 10. Can you speak to that?

bb:

I think it is the attempt to create the 4th dimension.

Hucka D.:

We better end.

bb:

Thank you.


“Doorpick” (2)

“March 1, Hucka D. Snow tomorrow.”

Hucka D.:

Don’t put your boots up yet.

bb:

Strange that I haven’t even worn my snow boots this winter. Probably 5 inches of snow max during any one event.

Hucka D.:

That could change.

bb:

I thought we would go further with an interpretation of “Doorpick” tonight, and perhaps just loosely chat as well.

Hucka D.:

The Resident looms large in the middle of the woods.

bb:

Yeah, I think I know what that is. Do you like the lexicon I started?*

Hucka D.:

It’s the thing to do.

bb:

Since Jasper the Rook — let’s call him a rook — is in the forest as well, should we talk to him tonight?

Hucka D.:

Yes.

Jasper the Rook:

Portal is next. In and out. Not much harm done. Dog… dingo. Enters and exits. What’s inside? Caw!

bb:

Japan?

*****

Hucka D.:

He is gone again. Looking at the Stranger Creek Blog again, eh?

bb:

Yes, a friend says it could be inspired by SL. The reference to Lindens and also the grid. But I know this isn’t so.

Hucka D.:

You need to find that collage. College, I mean.**

bb:

Will the 10×10 return to the Lake District, Hucka D?

Hucka D.:

I am here to answer what I can. Yes.

bb:

I started relooking at the bits and pieces of “One Pink” today, Hucka D.

Hucka D.:

As it was suppose to happen.

bb:

Interesting that it has the same name as an early collage.

Hucka D.:

Look at that collage again, in your mind. Someone has donned an eyeball costume. Delete name is who it is. In The Diamonds restaurant on the high fell but not too high.

bb:

Isn’t that the place Larry Byrd proposed to Lennie Fish to make her become Lennie Bird? Two birds and 1 stone, I suppose [stone of engagement ring].

Hucka D.:

Conjunctio. Then darkness… more. Like the collage itself. Highest of the series. At the top of the valley and then even beyond, but you didn’t know that at the time.

bb:

That’s the first time The Residents show up in a collage. Although I didn’t know who they were at the time.

Hucka D.:

Keep in mind that The Diamonds was a restaurant known from coast to coast. Atlantic, Great Lakes, Specific… Pacific. On one side of Franklin County [where the restaurant use to be] is a Pacific town. But not to the west, as would be logical. Is it chance, then? No.

bb:

I was thinking somewhat of other connections with that county, after rereading the Lyme section of Floydada again the other day. Acid, for one thing. (pause) Although I can’t find it on the internet maps of the county. It’s in one of my atlases.

Hucka D.:

New International, circa ____. Your base atlase for map explorations.

bb:

Yeah, I think so. But to me this points to The Beatles’ song Lucy in the Sky with Diamonds. Another diamond in the same county. But there’s more… probably much more.

Hucka D.:

We have returned to reality from SL. Breathe it in.

bb:

I found Acid, Hucka D.

Hucka D.:

[delete name] was going to go into that cave and take acid to complete his journey off the grid. But instead he went to the neighboring cave of [delete name] and saw the dragon. East of Butchie… Dragon.

bb:

Same as was at the exact center of Quadrospirited. TILE Creek, then, most likely.

Hucka D.:

String, thread. The smallest quantity known. Planck’s constant.

bb:

[delete name] has the answers about Tile.

Hucka D.:

Yes. Unfortunately.

bb:

Where’s Grassy?

Hucka D.:

You must look into the cup of tea. 1, 2, 3. Otherland? Red, green, blue. Diamonds. Atlantic, Great Lakes, Specific…I mean…

bb:

Franklin County is the US as a whole. Thanks to [delete name].

Hucka D.:

You’re going to find much more about it.

bb:

Collage novel, I assume. When will that occur?

Hucka D.:

Certainly after the 10×10. 5 years from now. Winesap first, though.

bb:

The collage novel idea only occurred to me about a week ago, Hucka D.

Hucka D.:

Right time comes along.

bb:

It’s a natural extension of the 10×10 and also audiovisual synchronicities.

Hucka D.:

You better go inworld now.

bb:

Thank you.


“St. Michigan”

jasper03base13smaller

“Jasper 03 almost done. Just final draft to create, Hucka D.” (3/4: this is done!)

Hucka D.:

You didn’t expect to see Esbum Michigan showing up, I bet (!)

bb:

No. (pause to pull up image) I think this is about comings and goings, Hucka D. The dog in the picture goes into that forest portal to the left, and emerges from the same portal to the right. This is the portal in Michigan that occurs when you link the 2 St. Joseph Rivers together.

Hucka D.:

We probably shouldn’t talk about that a lot, though.

bb:

Alright, then. There, though, is an impossible river in Michigan as a result that runs both directions at once.

Hucka D.:

The 2 dogs are the same. Saints. Exactly the same in this schema.

bb:

The dog seems to be a dingo. In fact I know the right one is.

Hucka D.:

The forest is Rookwood.

bb:

Then there’s an actual image of the Corsica Island forest inserted within a photo of Newborough Forest, full of its Corsican trees. The 2 images seem to fit remarkably well together, Hucka D.

Hucka D.:

As it was suppose to be.

bb:

Then there’s little Baker Bloch at the bottom, ready to enter the thickly planted forest, just as he did on SL’s Corsica Island forest, which has since been deleted. Is this where the spirits of the trees went, Hucka D.?

Hucka D.:

You got it backwards. The trees of *SL* were inhabited by the Newborough Warren trees for a spell. Kind of a vacation for them, like you take trips with Baker Bloch at times. See?

bb:

Are you saying the trees were immobile avatars?

Hucka D.:

They moved in their own manner, just like S.F. moves in mysterious ways. And they left their signature behind: Rookwood.

bb:

The sim, you mean. I just saw on the SL map tonight that more work is being done on that sim. Can’t wait to visit it for real instead of just viewing it incompletely from a distance, Hucka D.

Hucka D.:

Don’t forget that Wheeler 09 dealt with the 256m x 256m dimensions of a sim as well. Ives album cover. You must also remember that Ireland has come up in connection with Ives before. Oblong 11, I believe?

bb:

Ummmm, yes. Actually yes. There’s more to all this, obviously. When I visited Corsica Island a second time, I explored a possible resonation with the Rubi Forest, Hucka. D. It was that removed corner slot that you can still see on this collage transposition, Hucka D., that linked the two, perhaps. Then that spirit showed up (now gone), and right at the 128 meter position east to west. Exactly halfway across the sim, right where my old property lines in that area would have synced up. Spirit in the woods.

Hucka D.:

The Corsican pine is back home in Wales. Actually, as I said, it never left. It was playing a virtual game in SL, is all. Be aware of that kind of thing.

bb:

I’ll try. (pause) So this is the heart of the woods baker b. was looking for, Hucka D.?

Hucka D.:

Yes. the yin-yang center. Backwards and forwards at once. Two streams in one; two dogs together. Same dog, same stream. Fountain of Youth.

bb:

This has also to do with tile, through the Rookwood tiles.

Hucka D.:

Yes. You are tiling Michigan as well as all other states.

bb:

But [delete name] is slated to resurrect in Michigan in 2051, Hucka D. This must be about him as well, especially since we have Esbum Michigan here.

Hucka D.:

Esbum has been assimilated. Back. Sainthood. Saint Joseph. Saint John. Two in one.

bb:

Should we talk about Peter Dunne and Island Grove here?

Hucka D.:

A bit. Peter Dunne found the map of Michigan in Jasper County, Illinois, the same county the 10×10 is all about. He found it in the Newton town library. 1886. On that map, the two streams were one. This is the map (points to map in collage).

bb:

Let’s see: so that inspired him to change the name of his church to St. John’s?

Hucka D.:

Yes. Because he saw Michigan as a giant head after that. Brainard?

bb:

*I* don’t know.

Hucka D.:

The ponds…

bb:

Yes. The Great Lakes wholly visible on this map are also tied to Esbum’s now famous pond, from the photograph in the Edwardston Station collection. Two in one again, since the bodies of water (Lake Michigan and Lake Huron) are linked here through a strait.

Hucka D.:

Yes.

bb:

And the Corsica Island forest has subsequently been lost, just like Esbum lost her pond, along with the entire set of sims that it was a part of. Edwardston sim and neighboring ones.

Hucka D.:

Yes, this is about loss. And borrowing from the real world then giving it back. Nothing is lost in SL, though. It all returns.

bb:

And, of course, like Esbum herself, perhaps our greatest loss in SL.

Hucka D.:

Sweet of you to say that. I know she appreciates it.

bb:

So she goes back to Michigan. To [delete name].

Hucka D.:

Right. She has found the secret of the pond in the real world. Two streams in one; two pond halves in one as well now. Michigan is home. Sainthood.

bb:

Interesting that Baker Bloch is about to enter those rl woods in the collage here, Hucka D.

Hucka D.:

He is home as well.

(to be continued?)


“Promised Land”

jasper04base01ismaller

Hucka D.:

So now we’ve landed safe and sound in Michigan, baker b. Gill’s Pier.

bb:

Yes. Thank you for being here. This is obviously a contrast between Gill’s Pier and Pier’s Gill. Flat and pastoral in former case and hugely steep, rocky, and unsettling in latter. Standing Baker has climbed to the edge of Pier’s Gill and is seeming to admiring the magical view into its phonetic inversion, Gill’s Pier, with a dingo in tow.

Hucka D.:

The Dingo.

bb:

Crouching baker is interacting with a wagon that has “Pier’s Gill” on its side. This is to the far left on the collage. He has the angel of Michigan (?) in the wagon, the one Esbum’s head covered in the former collage of St. Michigan. The darker part of the rock that the wagon is situated upon is not from Pier’s Gill, though, but from Gill’s Pier, as is the background for the right part of the collage, beyond the stream. The wagon use to say Gill’s Pier but baker has perhaps rearranged the letters to make it Pier’s Gill instead, and, in sync with this, attached the dark rock to the actual Pier’s Gill in England. The wagon can now, perhaps, magically ascend the edge of that gorge to the top. Is, perhaps, Crouching Baker attempting to move the wagon to the top of the crevass to toss it over the top, back to Gill’s Pier in the right part of the collage?

Hucka D.:

You are doing a good job explaining “Promised Land”. I think you should rename it, though. (pause) Maybe.

bb:

The dingo way up on the cliff, at its top in this collage, is balanced by the fox at the bottom, just inside the Gill’s Pier territory. This seems to be a contrast of Pier’s Gill and Gill’s Pier themselves again. The opposition of fox and dingo has surfaced a number of times in the art 10×10, Hucka D. Just off the top of my head, I think of Yale 04, 05, and 06 in particular. Yale 04 may especially apply here, since the fox and dingo are both present in that one together, just as we have here.

Reversal of words in signs has just occurred in the Wheeler series with “Hunt City” in Wheeler 09 turning into “City Hunt” in Wheeler 10, the last of that series. I also think back to Rose Hill 09 and the two Rose Hill city limits signs on opposite sides of that collage. (pause).

Hucka D.:

What are those children and that guitar wielding green creature to the far right?

bb:

Like you don’t know: that’s an aspect of the promised land. Different creatures can mix and understand each other, lie down in fields with each other. That didn’t come out right, did it? Anyway, that’s the impossible that can happen in paradise. This would be…

Hucka D.:

…2051. In Gill’s Pier, then.

bb:

Yes. According to the Cross of the Lamb glyph. [delete name], of course.

Hucka D.:

The cliff and gulch represent the gap between present and future. Crevass of time. Right now, if Standing Baker at the top would attempt to enter paradise, he would merely fall to his death?

bb:

There’s an interesting, powerful triangle of diminutive images forming around the rocks and cliff, Hucka D. This would be almost an (tilted) equilateral triangle, formed of Crouching Baker, fox, and then both Standing Baker and dingo at the apex. Do you see it? The triangle stands out because there are no other figures in the center of the collage; although I attempted to insert one or two or three there, I decided to remove them later on to emphasize this triangle. You have the opposites of Crouching and Standing Baker on one side, and dingo and fox on the other side. The apex unites these two complements or opposites: dingo + Standing Baker. Crouching Baker and fox also face west, while Standing Baker and dingo, united at the top, face east.

Hucka D.:

What is Crouching Baker doing to the wagon? Is he pushing it? Pulling it? Or manipulating it in some other way?

bb:

He seems to be either pushing or pulling the wagon.

Hucka D.:

Maybe, having rearranged the sign to spell Pier’s Gill instead of Gill’s Pier, he is now attempting to drag the wagon onto the actual Pier’s Gill cliff just to its right — up the incline, then. This is because it doesn’t belong to Gill’s Pier any longer, or the blackish rock it is standing on from Gill’s Pier. I think he’s attempting to move it to the east, then, baker b.

bb:

Or maybe he just rolled it down off that incline and is going to change the sign back to Gill’s Pier, to match the new location in the collage. Inverse of what you’re talking about, then.

Hucka D.:

Interesting. Could be either one. Or both.

bb:

Maybe it means that Gill’s Pier lies in the past, before Pier’s Gill, as well as the future. He must make amends with the past before passing into the future, the promised land.

Hucka D.:

You must be square with the past.

bb:

That triangle of small images is very interesting, indeed!

Hucka D.:

The fox may already have that knowledge. Fox seems to be the same as Crouching Baker, but perhaps in two different places in time.

bb:

Or maybe in almost the same instant of time. When Crouching Baker rearranges the wagon signs back to Gill’s Pier, he instantly, through the magic of this triangle, changes over to the fox *standing* in Gill’s Pier. Just on the edge, but clearly within the grassy meadow of that Michigan location.

Hucka D.:

I’m thinking that the past here may represent pre-art 10×10, and then, at the same time, pre-[delete name]. Pre-Pier’s Gill, in other words. Before the ascent to the top.

bb:

Which makes it the subject matter of the Oz/Floyd Paradox document, Hucka D., I’m guessing.

Hucka D.:

I think so. You must be square with the whole Dark Side of the Rainbow, Rainbow Sphere, SID’s 1st Oz relationship before moving on. The past secures the future.

bb:

We should add here that although this is the first appearance of Gill’s Pier in the 10×10, Pier’s Gill has come up before. Again, I think here especially of Oblong 06, and also, to a lesser degree, Oblong 18.

Hucka D.:

Let’s, then, at least take a look at “Santa Speaks” (Oblong 06).

(pause to take snapshot of image at the Gallery at the Temple of TILE)

snapshot932_001smaller

bb:

I am unsure of the relationship between the newest collage and Oblong 06, although I did want to insert another one of those pictures of Santa Clause into Jasper 04. Just didn’t seem to fit — perhaps walking up the Pier’s Gill incline, as he is in Oblong 06.

Hucka D.:

The triangle overpowered, though.

bb:

I had an image of Truman with his suitcase there in-between Crouching Baker and Standing Baker on that narrow ridge. But I had to delete it.

Hucka D.:

It is a phantom image, still, in the overall animation of the collage. Past to present to future.

bb:

We better end.

Hucka D.:

Say thank you (smiles).

bb:

Thank you!


“Max…”

jasper05real17smaller

“I don’t think this is the final version of Jasper 05 but we’re going to attempt to start an interpretation anyhoot, Hucka D. Hucka?”

Hucka D.:

No, this one’s not finished.

bb:

Do you want to talk about it anyway tonight?

Hucka D.:

Errrrr…. obviously you have Piers Gill again in this one. And the fox.

bb:

I suppose I should look up Coniston Old Man before we progress.

Hucka D.:

Yes.

*****

bb:

3/9/09:

“We may be far enough along to attempt a proper interpretation tonight, Hucka D. Do you think so?”

Hucka D.:

We’ll try. I think [delete name] is diverting the stream of cars going up the road into the gulch. Pier’s Gill. That’s the big, L-shaped slash to the left, of course.

bb:

Diverting with a coffee mug. But not just any ol’ coffee mug but one with Max Ernst’s “birds” on it, like we have in now nearby Greenup 10.

Hucka D.:

Right. Fantastic find, baker b. Of course it was planted there, though.

bb:

Do you want to talk about that more?

Hucka D.:

Obviously the logical choice for animating that particular part of Jasper 05 here is to make the coffee mug turn into your opus 19 *3* bird sculpture, your only real sculpture work, still, actually, unless you count the temple/gallery here. Which I think you should.

bb:

Thanks. I see it as SL outsider art of some type, perhaps. I’ve become attached to it.

Hucka D.:

The willow stick returns from Jasper 02, Doorpick. There are 2 Maxes in this photo as there were 2 Bakers in that particular one, Standing and Crouching. The Maxes here could be called Frontward and Backward Maxes, I guess. The reason I bring this up in particular is that just like Crouching Baker holds the diamond willow stick in Jasper 02, so Frontward Max holds the same in the Jasper 05 draft here. In his enlarged hand, I mean. There are 2 Maxes because there are 2 versions of the same, essential picture overlapping in this collage. They are really at the same place in the pictures, but are split in location here. Dopplegangers, like the Bakers before them.

bb:

The line of cars also appears before in the 10×10, and in another animation series. Actually 2 animation series — no, wait, just one. This would be Newton 05 and Newton 06, but they make their first appearance in the 10×10 in Yale 04. But it seems more closely related to Newton 05 and 06, remembering that Jasper is the higher octave of the Newton series in many ways…

Hucka D.:

As Wheeler to Yale before it. Just as in Newton, you built your psychic energy up a bit through an “introductory” series of collages before returning to the Lake District in full, as we had in Newton 05 and we have here in Jasper 05. The introduction in the present case comes through Wales, and Llanddwyn Island and Newborough Forest or Warren. From there we find the portal back to the Lake District through the Pier’s Gill/Gill’s Pier duality. Wales leads to Michigan leads to Lake District and Pier’s Gill, you see. But also Coniston Old Man now, a new addition to the Lake District images in your 10×10. Max. Maximilian.

bb:

I notice there’s an “X” in the center of the collage as well, made by the willow stick crossing the edge of the almost straight up-and-down road edge. Almost a regular “X”.

Hucka D.:

Max. X. Ancient. X marks the spot… that sort of stuff.

bb:

I think this one may be finished as far as adding in images. I’m still unsure why the line of cars are being diverted from the road that leads to the fox on the hill and into the gulch… Pier’s Gill. This would be through the crack in the road’s left wall, interestingly. Do the cars represent just rocks?

Hucka D.:

It should also be mentioned that the very top of the landscape here is not from Coniston Old Man nor Pier’s Gill, but represents instead the top of Foxes Gully already seen several times in the 10×10, like in Newton 07. Relating it again to the Newton series in terms of imagery.

bb:

I think this is different parts of the Lake District acting in unison to make a point or series of points.

Hucka D.:

Very perceptive. The line of cars seems to be following the Ancient up the side of the mountain, parallel to Pier’s Gill. What is this Ancient? An amalgomation of Santa Claus and your Edwardston spirit from the railroad tressel, also now seen as a spirit within the Edwardston railroad station recently added to your gallery/temple in Otherland. Is this what it looked like, baker b.?

bb:

Maybe. The face of the Ancient here reminds me of the red lion face found in the Oblong series (Oblong 03, 05, 07). The Santa figure is also from the same line of collages (Oblong 06, 07). They overlap, actually, in Oblong 07. Haven’t we already looked at that before in this blog in relation to, let’s see… yeah, I think it was “Willows Diamond” from the Wheeler series. Wheeler 05. Another 05, Hucka D.

(pause to log into SL and look at Oblong series)

Actually, Hucka D., the lion almost appears to be smiling, like the head of the Ancient in Jasper 05. In Oblong 07 he is covering more the pack of the same Santa Claus image instead of his head, Hucka D. And certainly the similarly red devil to the left in Oblong 07 is broadly smiling, leaning on Birdtail Butte in the background. (pause). A though occurred to me, today, Hucka D., and that is the Ancients are merely the 4 elements, like the red lion here stands for the element fire. Fire, air, earth, water, symbolized in those 4 very different and very distinctively shaped buttes in ___ County, Montana, Hucka D. 4 elements.

Hucka D.:

The red Santa is on the opposite side of Pier’s Gill now than he was in Oblong 06. And the diamond shaped wedge of Sprinking Tarn is missing. But we do have the diamond shapes in the diamond willow stick, as well as the name of the willow itself. Diamond.

bb:

The road is from an entirely different location, though, Hucka D., and that is The Jug in West Virginia, mentioned a couple of times in this blog at least. It’s where Booker T. went to in the middle of my interview with him concerning SID’s 1st Oz. He had a dream vision there.

Hucka D.:

He saw me, the bee.

bb:

Yeah, I forgot that part (smiles). The Y. Anyway, this is the bridge to the Jug itself, across the top or “lid” of the peninsula.

Hucka D.:

Why are the line of cars being diverted, then, from entering The Jug?

bb:

Maybe The Jug is not as important a center as the Lake District and Pier’s Gill.

Hucka D.:

I diverted them. In the next collage you’ll see the situation where they weren’t diverted. And the consequences. Dingo.

bb:

I know Booker T.’s vision in The Jug, which he first entered in the dream realm while camping just to the north of the lid, as we’re calling it here, remained incomplete. He couldn’t follow the Y entirely.

Hucka D.:

Yet he did the next day or series of days. To the source of Middle Island Creek and Bee. Ephraim Bee.

bb:

Maybe the cars now heading up Pier’s Gill represents this continued journey up Middle Island Creek by Booker T. Diverted, but only temporarily. Diverted to the actual source of the creek… and the Y.

Hucka D.:

The crow or blackbird or rook has also reappeared in Jasper 05. He is on the road behind the mug. Another roadblock? At any rate, he seems to be checking out the Ancient to his left, and perhaps Pier’s Gill.

bb:

The two birds on the mug, again which will show up in Greenup 10 soon, are a Y themselves, one with a fish extending from its mouth, attached to the mouth through a line. And then the other head of the bird/birds is attached to a balloon. Water and air, it seems. Too small to see in this particular picture, and especially the lower resolution draft.

Hucka D.:

The stick weaves its way around the cup’s handle to the front, like it weaves through the trees of Newborough Forest in Jasper 02 before it. And just like the distortions of the fish and Standing Baker make evident in Greenup 10, in combo with the cup of tea — balance of coffee mug? — and Crouching Baker just in front of them. Or is it *way* in front of them. We can’t tell; that’s the point.

bb:

Is this like a Klein bottle, then?

Hucka D.:

You better end here for tonight.

bb:

Thanks!


“…Man”

jasper06real05smaller

“Ok, Hucka D., we have a busy week and a 1/2 ahead. Let’s get to town on this one. Jasper 06. Is it finished?”

Hucka D.:

Might be. What we have in Jasper 05 and Jasper 06 is an animation, of course, the first where a cue of cars is diverted into Piers Gill, the giant gulch on the side of Lingmell Fell in England.

bb:

Ok, we had a bit of a glitch trying to run SL with all these Mozilla Firefox windows open, Hucka D., but I think we’re alright now. Just can’t run SL when creating these kind of posts. So… cues…

Hucka D.:

Then the 2nd cue of cars is allowed to pass up the road beyond the birds in the middle of the road and toward the blackbird now sitting in its center. What is the blackbird, then? And is it the same as the fox from Jasper 05?

bb:

The dingo and fox are obviously oppositioned between the 2 collages. This opposition has come up before in the 10×10, Hucka D., most immediately in Jasper 04, of course. But also, just in terms of animation sets, Newton 05 and Newton 06. That’s what I wanted to take a picture of in the gallery/temple of SL, Hucka D., before the computer locked up.

Hucka D.:

Let’s wing it instead with just images of Jasper 05 and Jasper 06 to work with. You can log in afterwards and take footnotes if you wish.

bb:

The dingo sits near the top of Pier’s Gill in Jasper 06, at the same level, top to bottom, as the fox did in Jasper 05. I wanted it to be that way; I made the level part happen, not synchronicity.

Hucka D.:

Is the dingo, in turn, the same as the Ancient from Jasper 05? Both are orange colored, after all. Both are around or in Pier’s Gill.

bb:

It’s a logical assumption, I suppose. Fox is on same level as dingo, as blackbird is on same level as Ancient. Fox-blackbird, then, as dingo=Ancient. The Ancient here, again, is the smiling orange face atop the Santa body, walking up the side of Piers Gill, just as Santa did in Oblong 06.

Hucka D.:

This is Max.

bb:

Well… Max is the man holding the stick, technically, or more immediately. The stick is the walking stick, the willow diamond walking stick, also found in “Doorpick” (Jasper 02). Again it bends impossibly around something, in this case the handle of a coffee mug to pass to its front. It securely holds this mug in its vise like grip, Hucka D. Seemingly.

Hucka D.:

Klein bottle. Paradox. 4d conveyed as 3d. Impossible perspective. Just as all the Standing and Crouching Bakers are associated with, and, by conveyance, the walking stick now. You must observe when and how people/avatars view your art. They are an influence.

bb:

The actual Max of the collages holds the walking stick in his enlarged hand in Jasper 05, and then upright in his ordinary hand in Jasper 06. Like he’s opening and closing a gate, almost.

Hucka D.:

He is opening and closing a gate. Gate of death.

bb:

The blackbird in the road is death? The road is the passage of life and death?

Hucka D.:

The fox is death. Jasper is death. The fox is the blackbird. Jasper the Rook/Raven/Crow. When the gate is open (stick up), then there is no barrier between the two. Life “naturally” passes into death, as the gatekeeper is suppose to allow. (pause)

bb:

Max, you mean?

Hucka D.:

But when the gate is closed and the impossible cup is lowered into the road, there is a diversion of the cue to another printer… I mean, another location. This would be Pier’s Gill.

bb:

Pier’s Gill is death, then.

Hucka D.:

The cue of cars seems to instead follow the Ancient up the gully, aiming for the top where the dingo stands in the next collage.

bb:

Maybe the gulch is now full of cars, and the dingo represents the new block. The flow of cars, the cue of cars, must be allowed into the death state again down the road, where the blackbird stands now. The blackbird is the more immediate form of death; the fox the more distant form.

Hucka D.:

It is very important to remember that this road is from The Jug. It allows passage into the Jug itself, which has been identified by Booker T. and his SID’s 1st Oz interview as the 4d penetrating 3d. Klein bottle. Klein jug. Impossible passage.

bb:

The cars in the back of the road in Jasper 06: are they the ones that have already passed into death? They are with the blackbird now?

Hucka D.:

Yes, I think so. In Jasper 05, you have a condition of part of the cars being in life and part in death. The stick, again, represents the transition point between the two realms, life and death. It is the moment of death, perhaps.

bb:

I’m still unclear about the diversion into Piers Gill. Is this defeat of death?

Hucka D.:

Yes. [Delete name]. Gill’s Pier. 2051.

bb:

Hucka D., I think the cars in the back of the road in Jasper 05 represent the ones that have reached Gill’s Pier. They’re white, like the von Trapp children in Jasper 04 under the Gill’s Pier sign. I think its… backwards, then. Jasper 06 represents the ordinary passage of life into death, around the birds of death, leading to the blackbird. This is death. Blackbird is the opposite of whiteness, like in Carrcass-1, Hucka D.

Hucka D.:

Yes. Singing in the dead of night.

bb:

Jasper 05, then, would be the more unusual circumstance of escaping from death, or the, like you said, “natural” life-death cycle. This would be through Piers Gill. This would be through [delete name].

Hucka D.:

[Delete name] teaches us about the blackbird singing in the dead of night and allowing us to set it free. White-black. Race relations a bit, but…

bb:

It’s also an unusual circumstance to have your hand enlarged like Max has in Jasper 05.

Hucka D.:

Hand is a key.

bb:

So the fox, which is the same as a blackbird, shows us a sneaky way around the normal life-death cycle. A sly way.

Hucka D.:

You must study. TILE.

Or the death state as already full. One *must* divert.

Hucka D.:

Go inworld now.

bb:

Thank you.


“It’s Up To Us Now.”

snapshot935_002smaller

“Hucka D., we’re gonna at least start an interpretation of the final version of Jasper 07 tonight. Do you want to begin?”

Hucka D.:

I like the way you put my picture in the collage. And with my *proper* eyes, or at least the ones I wanted.

bb:

Those eyes have an interesting story behind them, don’t they Hucka D.?

Hucka D.:

They’re from the Starax goldfish originally found by you in SL at one of the Edwardston sims Esbum Michgan was so enamored with. Later we found that they existed in two separate locations in the 3 Edwardston sims.

bb:

I think it’s time to reveal where those sims actually existed and their property names, for historical blog archving purposes.

Hucka D.:

OK, right. Well, this is the site about the now deleted sims… deleted as far as we can tell — along with Esbum Michigan herself now. They were part of the Delphic Archipelago, and the Edwardston sim proper was actually called Alexandria. Now we’ve talked a bit why you switched the name from Alexandria to Edwardston and I believe I cut you off during that explanation, saying it was a bit boring, since it involves Mythos terms that no one else would know. And such.

bb:

Well, as I was saying at the time…

Hucka D.:

… let’s save the explanation for later and move more into the collage, baker b., if you don’t mind.

bb (disappointed):

OK.

Hucka D.:

So we have me and my proper Starax crafted eyes, which are from a goldfish — still want them, baker b.! — and then — that’s me in the lower, right hand corner, readers, in case you want to know. Ain’t I a sight!

bb:

You look fine, Hucka D. Even without the Starax goldfish eyes.

Hucka D.:

Those eyes, um, loomed larger in the draft for this collage.

bb:

Your yellowness resonates with the proximate yellow chair the speaking Baker Bloch is sitting in, Hucka D. That’s a Jetson chair from the Zarek Lock gallery my Temple of TILE use to sit almost next to in Rubi, Hucka D. 4 Jetson chairs, and a table in the middle that wasn’t for sale along with the chairs. 4 Baker Blochs; 4 Jetson style chairs. And a 5th Baker Bloch “sits” on the table. All this from the pictures about the Rubi Diagonal from the past fall, Hucka D.

Hucka D.:

I don’t think we need to review the Rubi Diagonal except to say that this has something directly to do with TILE… obviously.

bb:

The 4 Baker Blochs are the 4 colored aspects of TILE: blue, green, red, yellow. These same colors were found on the Vespasian sim of the Delphic Archipelago, the one that contained your TILE Pond, I believe. Your completely round head made the 4th circle to complete yellow along with the already present red, green, blue. You found these almost on the same day — perhaps the same day — that I found my “TILE lighthouse” on Azure Island #3.

Anyway, this prompted my rl exploration of TILE Creek, Hucka D., and thus directly lead to the introduction of the Toy Avatar mythology intimately tied now to this rl creek.

Hucka D.:

We must move to the collage, baker b.

bb:

Well, it’s about TILE to a large degree. The Baker Blochs are the 4 basic elements/colors of TILE, as I said. Their semi-circular, brick or *tile* platform is situated on a Rookwood tiled side of a Michigan building, repeatedly engraved, up and down, with the Detroit Tiger “D” logo. The letter D has already been featured in the 10×10 in the Greenup series, Hucka D. I specifically think of Greenup 12, “The Other”, which also contains a purple martin. There’s a purple martin flag in the most recent collage, which comes from Greenup 01. The purple of the martin seems related to the primary orange color of the Detroit Tigers tiles. This goes back to the Tyle Cube in the center of all the various versions of the Temple of TILE so far, including the new one in Klein — get to that soon! Orange and violet are related in that spinning cube to the Realm of Numbers. The colors of TILE on the same cube — red, green, blue, and yellow, again — are instead directly attached to the, er, oppositely spinning Realm of Letters. So altogether, these make up the 6 primary and secondary colors of the basic color wheel, Hucka D., or, in order around the wheel, red, orange, yellow, green, blue and then violet.

Hucka D.:

The bald man at the bottom of the orange center is a tiler, just like you baker b.

bb:

And you… with your beehives and all.

Hucka D.:

Maybe he’s putting the final touches on his Rookwood tiled creation. Like you are finishing up your collaged or tiled art 10×10.

bb:

Esbum Michigan has also returned in this collage, making her first appearance in the 10×10 in the Jasper series: Jasper 03; “St. Michigan”. Here she is also stepping over the chair, just as Mossman in Wheeler 06 steps over the wall, obscuring the bottom of his left leg there. Esbum’s right leg, instead, is hidden in Jasper 07 here. (pause) In looking at these two collages, Hucka D., I believe the curtain covering Mossman’s head in Wheeler 06 can be related to the similarly shaped and colored purple martin flag of Jasper 07. Don’t you think so?

Hucka D.:

Notice that both are connected to Diamond related walking sticks, an insect in the case of Wheeler 06. Must be a connection.

bb:

The letter “D” is also featured in Wheeler 06, Hucka D. It actually appears 3 times in that collage… multiple “D”s, then, just as we have in Jasper 07 now.

Hucka D.:

Uh huh.

bb:

Then we have the rusty keyhole reappearing in the Jasper series as well, this time originally found in Jasper 02. There it filled in for a pupil hole. The keyhole becomes the pupil itself.

Hucka D.:

Peephole. Peek-hole.

bb:

The overall shape of the orange tiled surface, in combination with the circular shape containing the keyhole at the top of the collage, is also keyhole shaped, Hucka D. The shape runs from the very top to the very bottom of the collage. This collage also happens to be 1024 pixels wide and 682 pixels high, making a relationship of 3:2 between the sides. 1024 is the size of the parcel I just rented in Klein, Hucka D [made up, as well, originally of 2 side-by-side 512 parcels]. The middle of the orange tile lies about 512 pixels from either side as well; exact center of the collage left-to-right, then.

Hucka D.:

You’re implying that this is related to the same ratios in Wheeler 09, thus, baker b.

baker b.:

Yes, I think so, although I don’t understand the full meaning of all that yet.

Hucka D.:

Study. Learn.

bb:

This despite the fact that the overall shape of Jasper 07 is not based on any found photo this time, Hucka D. It is instead *tiled* from an edited picture of a toy, found in a search for Rookwood+tiles, Hucka D.

Hucka D.:

They’re clear tubes. Very non-colored and neutral.

bb:

Related to the strong chromatic colors of TILE and also the Realm of Numbers, you mean.

Hucka D.:

The background is neutral. It’s like they’re in heaven or sumtin. Floating; groundless.

bb:

Maybe that relates to the “It’s up to us now.” comment by the speaking Baker Bloch here. They’ve lost their ground, their Lake District base. It’s up to them now.

Hucka D.:

TILE. Tiling. Tiling Man. Beehives. Rook.

bb:

The table represents the overall TILE Table that balances the entire art 10×10, Hucka D. The keyhole in the background relates, once more, to [delete name], who will be resurrected in Michigan [Gill’s Pier] in 2051, according to the mythology of the Cross of the Lamb. Esbum Michigan here steps on tiles found in Michigan: the Guardian Building in Detroit, again. (pause) Suppose we better end here for now.

Hucka D.:

You’re to be thanked.

bb:

Thanks!


Jasper 08

jasper08real13smaller

“I think the theme of this one, Hucka D., is that there’s rarely a sunny day in Borrowdale. What do you think?”

Hucka D.:

Sudden rain, sudden flood. Doesn’t the being in the octagon enclosure looked shocked?

bb:

We’re going to pretend that some missing elements from this collage draft are already there, Hucka D., since they’ll be added in tomorrow. This would include the black and white Beatles playing in the middle of the road behind the octagon being, and then the demon in the dark window from Wheeler 08, appearing here in the leftmost barn door to the right in the collage — the ones the water is pouring out of. Self prophecy may be in effect here…

Hucka D.:

Right. Negative thinking. To put a sign up like that encourages the rainy weather itself. Self fulfilling.

bb:

Hucka D., I think this also has to do with the new BROOK idea. I believe the stream of the picture is the BROOK in a way. The hummingbird moves upstream here, away from the apparently surprised octagon being with the hummingbird shape embedded in the octagon cover. Most of these images have occurred before — the octagon and eyeballed being within is from Greenup 12 and also Greenup 20. The hummingbird is common in the last part of the Greenup series as well. The Arkansas flag stars are also from Greenup 20. Greenup 12 itself is set in Stonethewaite in the Lake District as is this one. This strongly relates, then, to Greenup 12 especially, but also Greenup 20. We don’t have the John Elway figure repeating from Greenup 12, above the octagon being there, but we have another John, Lennon this time, directly above this figure.

Hucka D.:

Something unexpected has come into Stonethwaite: flood. It threatens, perhaps, to wash the octagon being away, perhaps even the whole town. But probably, if anything, just the octagon being/person. The “D” letter has also appeared in a number of places in the 10×10, now. Most immediately, the very last collage, Jasper 07 (“It’s up to us now.”) and again from a sports related setting. The “D” in Jasper 07 stands for Detroit, though [Tigers; baseball team]; this one in Jasper 08 stands for Denver [Broncos; football team]. The “D” is in Greenup 12 as well, and there it’s obviously related to the John Elway figure, Elway being probably the most famous Bronco player of all time. Both the single “D” in Jasper 08 and the multiple “D”s of Jasper 07 are set within the outlines of dark blue diamond shapes. “D” stands for diamond as well, then. (pause). The martin flag of Jasper 07 is also obviously related to the flag of Jasper 08. The flag of 07 hangs from a [diamond willow] walking stick; the flag of 08 hangs from a telephone line running across its central street. Both flags hang vertically.

bb:

After being “up in the air” in Jasper 07, though, we are solidly back on the ground for Jasper 08. Back in the Lake District, as we were in Jasper 05 and 06. But now where it all started for the 10×10: Greenup Gill. For the stream flooding the streets of Stonethwaite here is from a picture of the flooded Stonethwaite Beck, where it forms from the confluence of Langstrath Beck and Greenup Gill at the ______ bridge. Let me check quickly on that fact.

*****

bb:

Well, I can’t quite find the location of that bridge, Hucka D., but it’s certainly close to this confluence.

Hucka D.:

At least close enough to call the two barn doors here the respective Greenup Gill and Langstrath Beck that combine to form Stonethwaite Beck. So is this like the formation of Silver from Green and Red?

bb:

Could be. Maybe I should color the doors such [green and red].

Hucka D.:

But now we know that BROOK is also associated with Greenup Gill. I wonder if the door with the demon smelling the flower is the Greenup Gill door. I would think it is, instead, the Langstrath Beck door — more water flows from it [Langstrath Beck is considerably larger than Greenup Gill at this confluence].

bb:

That would make sense, I suppose.

Hucka D.:

But back to BROOK… the hummingbird moving upstream mirrors the same which first appears in the 10×10 in Greenup 13, the one after the Stonethwaite setting in Greenup 12. The two hummingbirds are obviously the same bird. In Greenup 13, we are moving back into the Greenup Gill area after briefly visiting the Stonethwaite village. The same might be happening here. In Greenup 13, I believe the two beds of the collage stand for Langstrath Beck and Greenup Gill as well, the two sources of Stonethwaite Beck.

bb:

Interesting that the stream and the roads of the town become one and the same in Jasper 08, Hucka D.

Hucka D.:

Interesting, also, that the hummingbird of Greenup 13 faces toward the giant eyeball, where in Jasper 08 he faces away from it. But in Greenup 13, unlike the present collage, a jewel fills in for the pupil, an Alexandrite gem to be precise. Alexandrite appears green in natural light and red in artificial light.

bb:

In looking closer at Greenup 12, Hucka D., I believe that the miniature version of Stonethwaite village in the middle of the road of the, er, macro-version of this same village might be like the Stonethwaite Beck in the road of Jasper 08. Both are similarly colored and in the road, I mean. Both are named Stonethwaite.

Hucka D.:

Interesting observation. Also important to point out that the bluish hummingbird seems directly related to the martin of Greenup 12., which has also just appeared in the Jasper series as well [martin flag of Jasper 07].

bb:

The number 08 of Jasper 08 may relate to the central octagon figure within the collage as well.

Hucka D.:

We also have the phrase “Coack K” in both, with K directly related to D in each as well. This kind of image first appears in Greenup 08, although the actual Coach K (Duke coach image) appears even earlier in the 10×10 and the Greenup series. In Greenup 08, we are on the Greenup Gill, moving down into Stonethwaite village. There are two types of movements in the Greenup series, one from the north and one from the south. The center is that mound shown in Greenup 05 and Greenup 06, but also symbolized in other places… perhaps too difficult to explain here, hmmmm…

bb:

The hummingbird, directly related to the martin, represents the number 09 beyond 08, wouldn’t you think, though? As we have in the Billfork diagram.

Hucka D.:

Billfork diagram… trying to remember what that was. Wasn’t that from Floydada?

bb:

Yeah… mentioned within.

billfork2b

arizonanewmexico

The hummingbird/martin is violet, 09, beyond orange, 08. We must follow this bird upstream again, like we did between Greenup 12 and Greenup 13. We must move away from Stonethwaite and orange and “D”, again, Hucka D. The Other.

Hucka D.:

Otherland.

*****

bb:

Hucka D., I think I need to deal, again — as well — with the Jigkansawyers of the Greenup series. The jigsaw piece of the Greenup Gill.

Hucka D.:

Parrot. Rydal.

bb:

In Greenup 17 we also have the confluence of Frank/Mossman/Heman and Herman Parks. “You’re a Herman Mossman” is the actual title. This would be around the same location or setting as Greenup 13. The hummingbird reappears, fluttering in front of another open hole, this time a cave. Meramec Cave… Amereca.

Hucka D.:

BROOK. Lost Valley. BROOK. B…ROOK.

bb:

This cave has a back door, though. Leading back to the very center of the Greenup Gill valley. Mound.

Hucka D.:

BROOK. Mound. Center.

bb:

Perhaps a flood in Greenup 17 as well.

Hucka D.:

We better end.

bb:

Thank you.

Next Previous Page Category


Jasper 09 (“Sunny Day”)

jasper09real12smaller

Here we go Hucka D… the draft of the *final* collage I’ve created for the Jasper series, and also for the 10×10 *as a whole*. On top of that we have a, ahem, prim and proper gallery to fit all of these works into now; the way it was suppose to happen. How could I have known?

Hucka D.:

Told you you needed to get rid of the Otherland parcel. You can thank Arcadia Asylum as well.

bb:

Of course I will. Will provide pictures and text about the new Aplasta gallery for the 10×10 asap, perhaps even tonight. But now to Jasper 09.

Hucka D.:

This is an idea on the backburner for a bit, at least during the creation of the Jasper series. The setting is Rydal again, and *spring*. You miss spring, baker b. It is coming soon enough, don’t worry.

bb:

Yes, I can see the idea that this collage is about spring and the need for experience of that season.

Hucka D.:

Nice that you put your 2 cats in this one, baker b. [black and white cats near the lower left corner] Johnny and Carson, isn’t it?

bb:

No. Eddie and Casey. Kind of after the famous psychic Edgar Cayce… Eddie’s from Edgar, originally, but we never call him that now. Just Eddie or Spaghetti Boy, just because it rhymes with Eddie.

Hucka D.:

They are leaning the opposite way from the water tower with “Britten” on it.

bb:

The b. of baker b. stands for breton, so I thought Britten was close. They’re baker b.’s (and Edna Million’s) kitties.

Hucka D.:

But they’re not really kitties anymore.

bb:

About a year and a half old now, I suppose. So: not really.

Hucka D.:

Then between the water tower and the cats are a very green Mossman, perhaps the most central figure of the collage, and also a circle of rocks that we know is a portal, perhaps between sl and rl. That’s the same portal from Wheeler 09, isn’t it baker b.?

bb:

Yes. But this time the water doesn’t flow from it, like it did in that collage. Maybe it is a fire portal now instead.

Hucka D.:

The way out of sl and back into rl, perhaps.

bb:

Mossmen are suppose to have created the RIVER portals, Hucka D. This one seems greener than Gene Fade, though.

Hucka D.:

Different, yes. Darker.

bb:

Blends almost totally into the bush in back of him. Or her.

Hucka D.:

Then we, I see, have that toy used to tile the background of a recent Jasper collage… Jasper 05, no Jasper 07.

bb:

Right.

Hucka D.:

You miss your pipe system from the older versions of your gallery[/temple].

bb:

Yeah. That could be part of it. The cats and the water tower seems to be leaning out of their way, like the cartoon figures of Oblong 04 lean left and right from the center. Quite similar.

Hucka D.:

‘Nother category for the Baker Bloch blog.

bb:

Yeah, could be. The overlap of a lemon and a lime prefigures the use of these in the Greenup series that follows the Jasper series in the big circle of the 10×10. It’s first used in the first collage of the Greenup series, as a matter of fact. Lime overlaps lemon here instead of visa versa. Now this seems to have something to do with SL, Hucka D.

Hucka D.:

Loss of all art inside The Man as it shifts from Lemon World to Lime World, i.e., Second Life as we know it today. Lemon World came first, but was eclipsed. It was called Linden World at first.

bb:

But linden is a lime, Hucka D. In Britain that is.

Hucka D.:

Britten (laughs).

bb:

I like the contrast of textures in this collage and backing photo, Hucka D. The mountains in the far background, for instance, with the checkerboard ball floating above it. We can’t tell how big the ball is from this perspective.

Hucka D.:

It looks big to me.

bb:

Well (baker b. checks collage again)… I guess you’re right. (smiles) What else with this collage, Hucka D.? (pause) I think we need to talk more about Lemon World and what exactly that is, Hucka D.

Hucka D.:

Interesting collage. Nice one to wrap up with. Tomorrow you will begin to create the final versions of all these; put it in your Healy gallery and, of course, your new Alpasta gallery. Then create another Temple of TILE, baker b. Just for practice.

bb:

Thank you Hucka D.

Hucka D.:

You’re welcome!


Jasper 10

jasper10test17

jasper01real14smaller

“Amazing, Hucka D. Jasper 10 *might* be complete already.”

Hucka D.:

Not quite, but close.

bb:

But I still have Jasper 09 to do. And then the slight revisions to Jasper 01. I should be finished by Monday at the latest, I believe. Then I can really shift the focus to hiking, Hucka D.

Hucka D.:

BROOK. Contact. Chancelling.

bb:

I was too tired to head out to BROOK today, Hucka D.

Hucka D.:

Tomorrow, then.

bb:

Yes. I have a feeling that Jasper 09 may have something to do with BROOK.

Hucka D.:

Could be (smiles).

bb:

Where’s Wilsonia these days, Hucka D.? Haven’t seen her around in a while.

Hucka D.:

She’s — well, I won’t say that.

bb:

I assume she’s still been drinking that coffee all this time.

Hucka D.:

Let’s talk about Jasper 10 now before I get into trouble.

bb:

Well, the main dilemma I have to resolve is whether to get rid of the Otherland 4096 parcel, Hucka D. And I think I’ve decided this is the best way to go. So in Jasper 10 the temple/gallery is replaced by a symbol of the 10×10 itself, from the little website I cooked up for on the *writing* 10×10 — but, of course, it would apply to the art 10×10 since it’s just a box of 10×10 cubby holes. Then I just started filling out various animations to move Jasper 10 and Jasper 01 closer and closer together. Notice the sign (double of the curtain the walking stick insect is “holding in Jasper 01) covers the islands in the background that represent Otherland. I think you can stick a fork in ’em, Hucka D.

Hucka D.:

Yes. Most definitely. But you always have the option to return. Same for Azure Islands, which may be a better option since it would not require as much money. Neith, for example.

bb:

My old property there is still up for sale last time I checked.

Hucka D.:

Not yet.

bb:

No. So I don’t want to give up Klein now, and I can’t give up the Healy gallery. Seefeld is the only option, but then I wouldn’t have the full 10×10, minus the Greenup series, displayed in SL. Either Otherland had to go or all these mainlands galleries and temples had to go, Hucka D.

Hucka D.:

That’s what I was going to say…

bb:

So let me continue with the animation description between Jasper 10 and Jasper 01. In 01 we have the Beatles playing beneath the curtain just mentioned; in 10 this changes into Martin from the Simpsons… George Martin to Martin Prince, just like we have in the Greenup 05 to Greenup 06 animation.

Hucka D.:

That was the first animation you decided to do, I believe, baker b. The one that started the animation sets.

bb:

Yes. The rock George Martin sits on in Jasper 01 changes into the Esau Junction mound Martin Prince also stands on in Greenup 05.

Hucka D.:

Esau Junction being next to Greenup in Oklahoma. Esau, in your Bible, is the son of Isaac, who is the son of Abraham and Sarah. Thus tying it to your lemon tree mythology as well.

bb:

But the Greenup series was created several years before the, um… lemon tree mythology really started to kick into high gear, Hucka D.

Hucka D.:

Yes… queer. (pause) I think in your Jasper 10 that Martin Prince should be with his apples and Brazil flag again, perhaps, like he is in Greenup 05. Interesting, perhaps, as well, that he is turned the opposite way from Greenup 05 in Jasper 10. Wonder if that has any meaning? (pause) I also understand you want to insert the Abominable snow monster just behind Martin Prince here. Correct?

bb:

Thinking about it.

Hucka D.:

You better continue with your animation description between the beginning and ending Jasper collages.

bb:

Right. So one I added into Jasper 01 in response to Jasper 10 is the word “Diamonds”, taken directly from the central animation set of Wheeler — Wheeler 05 and Wheeler 06. In Jasper 10, the word makes a straight line across the top, as it does in Wheeler 05. In Jasper 01 now, we have the same chaotic situation for the word and its letters that appeared in Wheeler 06…

Hucka D.:

And another one of your collages… which one?

bb:

That would be Yale 07.

Hucka D.:

Uh huh.

bb:

To continue, then — guess I should point out that the word “restaurant” now fully formed on the vertical axis of the cross present in both Jasper 01 and Jasper 10 also contains 10 straight, up-and-down letters, mirroring one of the vertical rows of the 10×10 to its right.

Hucka D.:

That may stand for the 10 collages of the Jasper series itself, the final row.

bb:

Good observation. (pause) Jasper 10 seems to be about completion and fulfilllment, which is understandable…

Hucka D.:

This is the final collage… the 100th of 100.

bb:

In Jasper 01, the letters of the word “Diamond” are flying around because the Jasper series itself hadn’t been formed… hadn’t settled down into a rowed pattern of 10 elements. And the Otherland situation hadn’t been resolved as well.

Hucka D.:

Is it resolved now?

bb:

Yes, think it is, Hucka D. I have to sell.

Hucka D.:

Yes.

bb:

The Jasper series is also lining up quite nicely in the Healy gallery, as it would have in the Otherland gallery had I decided to keep it. The space it is exhibited in affects the art itself, Hucka D.

Hucka D.:

Certainly does.

bb:

Then we have John Elway and his roller coaster reappearing here, replacing the Wilsonia/Golden Dodder symbiosis of Jasper 01. The key link between the two is the burning car — both Elway and “Wilsonia” are holding one. And they appear also to be one and the same car. Wonder what that means, Hucka D.?

Hucka D.:

Obviously it has something to do with the Otherland gallery and the 10×10 that was suppose to be permanently displayed within it, don’t you think?

bb:

Yes, but… but now we know that the 10×10 and the Otherland gallery are separate things, the first permanent and the second temporary and expendable. Tough still, though, to do this.

Hucka D.:

You don’t have to sell. You can rebuild it still.

bb:

Doesn’t seem like an option, Hucka D.

Hucka D.:

No.

bb:

What about Hurla Dontbee, Hucka Doobie? (smiles)

Hucka D.:

I can handle her on my own terms.

bb:

I still have a little time to make this decision.

Hucka D.:

Well, what are your options? You can give up all mainlands rentals and keep Otherland and you’d still be paying 10, perhaps 15 more dollars a month for its 4096 parcel. You have the 10×10 basically on the mainland now. And now you have a mainland Temple of TILE. You can even build another temple easily enough. You can’t have both mainlands and estate property right now. Maybe some other time, though. But not now.

bb:

Yeah… suppose you’re right.

Hucka D.:

I’ll talk about some of the remaining animations of Jasper 01/Jasper 10 now. The Elway figure is directly from Yale 07. I believe he represents the correction of the “error” caused by buying the Otherland property in January, baker b. At the time, he lost his head; it turned blue underwater. Wilsonia chopped it off, baker b. and stole his burning car, which represents the sun here. Sun was replaced by Moon, baker b., don’t you think? [as recorded in Wheeler 03]

bb:

Yeah. Suppose so.

Hucka D.:

And the Otherland Island #2 has now been deleted in part. Interesting, eh? Including your former friend’s corner lot. Now you’ll never know the full story of the Garden of Eden and aliens that he was writing about in his book, baker b. That’s a shame.

bb: I’m not sure I can give up the Otherland property.

Hucka D. (blowing out air):

Yes. Yes, you must give up that property.

bb:

Well… to continue. We have the mug reappearing from Jasper 05, which we now know represents a Klein bottle or mug as well, with the handle and all. This seems to represent the Klein version of the Temple of TILE now, Hucka D.

Hucka D.:

Yes. For now, your Simpsons’ Martin is staring right at it, even waving at it. Klein equals Kleiners as a whole. The whole sim, then. Otherland is blocked now, but you’ve made new friends. Kleiners.

bb:

Suppose so.

Hucka D.:

And if you think about it, that’s the 4th element that has just been added to the gallery/temple mainlands situation. You have 3 locations now on the mainlands. You have your Healy gallery, symbolized by the lighthouse to the right in Jasper 01 and Jasper 10, then the Seefeld skyscraper symbolized by the cross in both, and now the Klein temple. I think the temple should have been in Klein.

bb:

All along?

Hucka D.:

It has always been there. Hidden in a higher dimension. You must write more about the Klein temple very soon. Provide pictures in this blog… so forth.

bb:

Then we have walking sticks in both 01 and 10, and in the same basic position in each. An insect in 01, though, and an actual stick in 10. Care to comment?

Hucka D.:

The stick represents the support of the Healy gallery and its owner for your work… your collages… your 10×10. You inspire, as she said.

bb:

The walking stick in Jasper 01 also moved the curtain over top of the island that represent the Otherland archipelago. It would have been very easy to have been trapped there, Hucka D., so attractive the land is.

Hucka D.:

Yes land attractive is.

bb:

I think the burning car of Jasper 01 and 10 first shows up in the 10×10 in Greenup 15, Hucka D. And then the Casey Boy splits in two between Greenup 15 and Greenup 16, just like it does between Jasper 01 and 10.

Hucka D.:

We better end here.

bb:

Thank you.


We Better Chat, 2

“So Hucka D., if you don’t mind, let’s go back to Jasper 10, the very last collage in the 10×10 and the 100th overall. Just completed.”

Hucka D.:

Not quite.

bb:

Right, I’ll get to that by the end of this week, the polishing up. But we know basically what it’s going to look like. I think it’s obvious, now, that the central rectangle of 10×10 cubby holes represents not only the collage or art 10×10 but the new and improved Edwardston Station Gallery in Healy. This is about the relationship of all *3* old versions of Edwardston Station Gallery merging into this one. There’s only one now.

Hucka D.:

Only one.

bb:

The walking stick in Jasper 10, I believe, is the support by Yapland and Kelly herself for not maybe the ESG as much as the 10×10. But now the ESG as well, since she was gracious enough to provide land for the 30x30x30 cube.

Hucka D.:

Do you blame her for laughing? It’s a monstrosity, hehe!

bb:

Yeah, it doesn’t really belong on the ground. But it works well enough in Yapland West, as I’m calling it. But back to Jasper 10…

Hucka D.:

Otherland is covered up. No islands present in the bay — hidden by the white sign with nothing on it presently. How to advertise your gallery? The collage also represents a pre-Otherland and thus a pre-Xmas condition, where the Azure Island Ubertemple and its Otherland cousin haven’t been created yet. You still have, then, just the cube that was and still is the Temple of TILE. You’ve returned to your 30x30x30 cube here. And miraculously, perhaps, this cube now holds the entire 10×10, the entire 100 collages. No way you could see that coming. And at less than 100 prims as well — collages outnumber the structural prims.

bb:

Seefeld ESG is gone — the cross in the collage. Original Healy gallery is no more. Otherland gallery and temple are no more. Everything that was present when Jasper 01 was being created is now gone. Seefeld barely lasted through the Jasper series, even.

Hucka D.:

But you still are in Healy, and renting from Ms. Yap. That’s the best situation now. Pay her what she wants and give her what she deserves. She’s protected the 10×10… helped protect. That means a lot to both you and me. I have a stake in this as well.

bb:

Should we return to an overall analysis of the 10×10 tonight, Hucka D.?

Hucka D.:

Yes. We were talking about the limitations of SF [Seathwaite Fell]. This is rather abstract to the readers; best to link the collage names to the respective posts on Baker Bloch’s new-ish blog.

bb:

Right. I’ll do that. Baker Bloch is in the ESG gallery now, Hucka D., ready to help.

Hucka D.:

Let’s get to it.

*****

Hucka D.:

Actually, I think we should talk about the Temple of TILE in relationship to the new ESG. Both are 30x30x30 cubes. Both have the same outside design of criss-crossing red, green, blue and yellow tiles. Good that you arranged the colors in the ESG gallery in Healy to match the 4 compass directions [blue: north, green: west, yellow: south, red: east]. Now you must explore the possibility that the 30x30x30 ESG and the 30x30x30 Temple of TILE are two aspects of one [hyper]cube. You must explore the possibility that they are Jasper [ESG] and Newton [Temple of TILE] themselves.

bb:

Hucka D., I’m beginning to think that the only structures and property I need in SL are these two cubes and the 1024 parcels to put them on, and then a 3rd 1024 as a sort of sandbox. And that’s what I now have with the Healy-Klein-Aplasta triangle. And that’s less that 20 dollars, which is reasonable.

Hucka D.:

You can raise it higher if needed. But 20 is good.

bb:

So you want to get back to SF?

Hucka D.:

SF, in a way, is the entire 10×10 and also the ESG that now houses the complete 6 series the way it should be. Displayed, that is. (pause) One thing you need to emphasize to serious gallery goers is that the series are named for towns in or just around Jasper County, Illinois. The 10×10, really is Jasper itself, or the outer appearance [just as the Jasper series forms the “outer” series of the 10×10]. This obviously relates as well to the New Jerusalem of the Bible. New Town… Newton. Jasper 10 is about the 10×10 as a whole but also the 10 collages of the Jasper series, lined up now like the 10 letters of restaurant up and down the cross of that picture. Christian symbol again. What did you learn?

bb:

ESG [and the 10×10] was split between Seefeld and Healy at the time. Otherland represented the only place I could show it as a whole. Now I have a way to show it whole just in Healy alone, and on the prim allowance of a 1024 parcel.

Hucka D.:

You must work on the Temple of TILE now. There’s not a lot more you can do with ESG. It’s almost perfected, thanks in large to Arcadia Asylum. My hero… one of ’em in SL.

bb:

So I need to use the sandbox again, as I’m calling it, in Aplasta. We’re not talking much about the 10×10.

Hucka D.:

No. Another night.

bb:

Thank you.


“We Better Chat, 5”

“The Hidalgo series, then, seems to be a bit of a departure, Hucka D., like the similarly short Rose Hill. [both are 10 collage series, as opposed to the 20 collages of Greenup, Yale-Newton, Oblong, and Wheeler-Jasper]”

Hucka D.:

Show your picture here.

snapshot953_001smaller

You must always keep this overall “map” in mind when examining the 10×10. We must, I mean. It’s all about balance between the various series. There are 3 types of series, each type containing two series within it. These are, in the order they are found, Greenup/Oblong, Rose Hill/Hidalgo, and Yale-Newton/Wheeler-Jasper. On this map these dualities are on opposite sides of the overall 10×10 wheel of 100 collages, as well as colored in complementary ways (green/red, orange/blue, and yellow/violet). Also note that Yale and Wheeler make sub-opposites, as well as Newton/Jasper. If you decide or choose to divide either or both Yale-Newton and Wheeler-Jasper into their two individual series.

bb:

The way I’m looking at it, Hucka D., is that you have a hierarchy, of sorts, of series within the 10×10. Greenup/Oblong comes at the top to me, because these represent series that are both composed of 20 collages and which can’t be broken down further [into further series]. The way the two series are animated is quite interesting in its contrast, Hucka D. Greenup, as you said before, is a kind of “perfect” series, laying the groundwork for all to come. The four pairs of animation collages (5/6, 10/11, 15/16, and 20/1) are what could be called “classical” animations, or, in one part of the definition, pictures that have the exact same overall dimensions and can be toggled back and forth between each other to create the animation. Now in Oblong you also have animations, but they are fewer, and none are as “classical”. All involve pictures that have either different dimensions or, in one case, have to be turned sideways with each other to create the true dimension.

Hucka D.:

That would be Oblong 20 and Oblong 01.

bb:

Yes. Returning to my heirarchy idea, then you have Yale-Newton and Wheeler-Jasper in the next pair, but below Greenup/Oblong. This is because they are formed of 20 collages apiece, true enough [just like Greenup and Oblong], but can be broken down into two series of 10 collages each as well. That is, Yale-Newton can be broken down, if needed or necessary, into Yale and Newton, and the same thing would go for Wheeler-Jasper.

Hucka D.:

Each sub-series also forms an internal loop, just like Greenup and just like Oblong. But the overall, combined series do not.

bb:

Really, they are only called Yale-Newton and Wheeler-Jasper because they were composed as a whole or as one chunk, in one span of time. Strangely, perhaps, each series always took almost exactly a month to create, Hucka D. Very lunar progression, then.

Hucka D.:

You really can’t go any faster with them. The whole month is needed, but not much more, as you also found out.

bb:

Then in the third and last pair in my hierarchy, we have Rose Hill/Hidalgo. These only contain 10 collages, and also don’t loop into each other. They appear most removed from Greenup and Oblong, more like individual pieces of art. But there’s also one animation pair in the center of each.

Hucka D.:

Rose Hill 06 and Rose Hill 07, interestingly [Hucka D. means that it’s interesting to him that most other animations occur between 05 and 06 collages of any series], and then Hidalgo 05 and 06. But, yes, I agree with your proposed hierarchy, which I might reword as follows:

Greenup/Oblong
Yale-Newton/Wheeler-Jasper
Hidalgo/Rose Hill

or…

red/green
yellow/violet
blue/orange

Let’s now go to the Temple of TILE in Klein and look at the Tyle Cube, baker b. Nice you inserted the cube above a Linden tree this time (smile).

snapshot953_003smaller

bb:

Same 6 colors… yes. But I think the blue/orange pairing can turn into violet/orange, as we have on the cube in the numbers 0 and 1. This means that the 4, um, major series, or the series that make up 20 collages, can be directly associated with the letters of Tyle, or TILE. Red, green, yellow, blue then. I mean in this, Wheeler-Jasper is colored blue according to this new mapping, and not violet.

Hucka D.:

Correct. This is TILE. Or Tyle. You better think about that more.

bb:

Thank you.