Boos 01-10 Interpretation


Difficult to get back in the writing mode after doing so much art recently. The Boos collage series *may* be over. Not saying it is but I’m not saying it isn’t (but it is?). The Nautlius City gallery is filled to the brim with new collages. But *now* I get to interpret them (!). When to start? I can hear Hucka D. say, “now!”.


So let’s look back. And I’ll employ Hucka D. to aid my interpretation as usual, an important role of his on this and past blogs. I have a couple of collages to fine tune but nothing major like with collage 03 LINK. I can do that as I go along.

Hucka D.:

It begins with a dirty little wet seed. A car, perhaps a buick but perhaps not. Lying in a driveway under a tree, unused probably. Broken. A dirty little broken wet seed.


Thanks for beginning Hucka D. And his is what unboxed Boss Moss is pointing to in the very first collage of the Boos series. Let’s back up briefly and explain the name.

Hucka D.:

It will take you several minutes to get ungroggy so I’ll continue. Boos is the name of a Jasper County village. Like Rose Hill before it. Like Hidalgo, like Yale and Wheeler, like Gila, Latona, Lis. Newton, of course. And then Jasper itself. And let’s not forget Falmouth, the most importantest of all so far. Then you also have proper names Sam Parr, Embarass, and Stonethrow coming from the immediate Newton area. Now we have Boos. The latest of these are organized by a single gallery building. Why do you have names coming from Jasper County, Illinois? Why? You have no connection to that county in real life. Oh, you have one. Dean was from that county. But that came after the whole idea was well on its way. You would name *all* of your collage series after place names in or immediately near this Jasper County. Let’s take a look at a map.


Do we have to?

Hucka D.:



Not that one, although that shows the details of the names of series around Newton, the ones in the Red Umbrella and the latest created before Boos. Okay, actually that is a good one to start with. Then expanding out…

Ah, I found it:



That’s an interesting one to look at.

Hucka D.:

Give us a minute. We can update now.


So the order, according to the chronology of the series and adding in Greenup and Oblong, are:

(Greenup), Rose Hill, Yale, Newton, (Oblong), Hidalgo, Wheeler, Jasper, Gila, Latona, Lis, Falmouth, Sam Parr, Embarras, Stonethrow, and now Boos. That’s 16 collage series named for places in and around Jasper County, 14 within the county itself, including all the more recent ones. Beyond Oblong, that is, and that came from 2007.


So Boos is about the same distance from Newton, the county seat, as Falmouth to its north. A good comparison for Boos would be Gilatona-Lis to begin. Obviously Boos isn’t on the scale of Falmouth and its 61 collages, but it’s not far off of Gilatona-Lis’ pace with the 36 or so. Another way to see Boos is as a type of mini-Falmouth.

Hucka D.:

Good. Gilatona-Lis ends with a bang (4 part collage — first of of the tetraptychs). Boos, if it is complete, ends more with not a wimper, let’s say, but a dwindling, a more gentle leaving. “All Together Now”, just like the ending song of the “Yellow Submarine” movie, one of your favorites.


The movie, yes.

Hucka D.:

Per your advice we won’t name the main town involved in the Boos collages. We’ll call it T-Town.


Maybe Thornberry, like the toy avatar actor(‘s name).

Hucka D.:

Thornberry it is.

(to be continued)


  • —–


Hucka D.:

Several of the Boos collages are built on Google Map Streetview oddities, we’ll call them. The first that appears is of a Wheeler beside the road in Boss, Missouri. I told you it was a Wheeler and I’m now glad you believe me.



Hucka D.:

Another is of mysterious writing in the sky in Thornberry itself, which appears to spell out… shall I say it?



Hucka D.:

It spells out the word “fag”. In capital letters.


Um, yes.



So I’ve organized all the Boos collages in one folder to look at as a collective, Hucka D. It’s interesting — it’s not really Gilatona-Lis; doesn’t quite match that energy. But it’s also beyond the 20 collages series of Oblong and Greenup. It’s a tweener. And perhaps the most interesting innovation for this one is the introduction of the miniature, or the reinforcement thereof. You see it first, really, in Boos 04 (“Dirty Little Wet Seed”), but then full blown in “Atlantic and Pacific”. This is kind of the opposite idea of the large territory covered in the tetraptychs, like the last collage series (Stonethrow) ended with. There are no tetraptychs in Boos. Nor triptychs or even diptychs for that matter. There *are* a number of animations, as I began creating in the Falmouth series. There are a number of interesting pictorial frameworks in Boos. There’s the 3 part “Goodwater Goodland” series, where the 3rd is disattached from the other two chronologically. There’s the reworked and reworked 3rd collage that might have stole thunder from the end of the series. And Thornberry, Canada becomes yet another village or town that is connected to other collage places. There’s wormholes involved.

Hucka D.:

Indeed. So are we going to start tonight?


I’d like to say a little more about the structure. Traditionally, collage series can be broken down into series of 10, like the 10 levels of 10 collages in the Art 10×10 that came before the modern run. Some collages are only composed of 10, or perhaps 9 collages. Like Rose Hill to begin (earliest), and like Hidalgo. Like Sam Parr, Embarras and Stonethrow more recently. But *all* series have at least 9 or 10 collages. The largest, once more, is Falmouth with its 61. Oblong would be two tiers of 10 collages apiece to make 20 total. Same for Greenup. Yale and Newton are series of 10 collages apiece that can be combined to make a 20 collage series called Yale-Newton. Same for the 10 collage series Wheeler and Jasper — they can combine as Wheeler-Jasper. Then Gila, Latona and Lis are all basically series of 9-11 collages which combine to form the collective Gilatona-Lis. Falmouth, the next series, isn’t broken down but extends into its vast length as a whole, although you can separate the collages out by gallery floor.

Boos is similar. It is exhibited in the 3 floors of the Boos Gallery. Floor 1 has 10 collages, once more. And like in the Gilatona-Lis gallery, called the Power Tower Gowlery of course…

Hucka D.:

Of course.


… we have a smaller floor 4, more an extension of floor 3 almost. These smaller upper floors end both series. That’s why I think I associate Boos more with Gilatona-Lis. Actually, Falmouth also has a smaller top floor.

Hucka D.:

We better end.

(to be continued)



I’ve about decided to name the T-Town dominating the Boos collage settings Tungaska instead of Thornberry. It is phonetically closer to the actual name of the town. The Tungaska event is generally described as the effects of a meteor colliding with Earth, and considered the largest impact event in recorded history. Meteors are depicted in several collages of the series, for example, in “Boos Attach” (collage 14). The state of Tungaska in that photo makes it appear almost to be in ruins.


Or maybe it is Tungaske.

Anyway, when I looked up the Tungasaka event in wikipedia and went to the attached “Tungaska event in speculative fiction” link, I found this close conjunction of authors named Stephenson, seemingly unconnected to each other except for using the event as a plot device in one of their recent books. Neal Stephenson (misnamed in the article) is a famous sci fi/speculative author perhaps best known for the pioneering work “Snow Crash” from 1992. Charles Stephenson is an unknown writer in comparison. Both put forth different theories in their books about the cause of the event. Neither involve meteors.

In Seveneves: A Novel by Neil Stephenson (2015), after the Earth’s moon explodes in the first pages of the novel, it is suggested that a small speeding blackhole, such as was hypothesized (and disproven) to have caused the Tunguska event, caused the moon’s explosion.

Charles Stephenson’s 2013 novel The Face of OO culminates with the explosion over Siberia. In this story a hijacked airship, which is carrying a ‘divine weapon’ mentioned in the Indian great epic, the Mahabharata, explodes causing the massive blast.[1]

In the “Boos Attach” collage, 12 Oz Mouse’s head is pinned down by a meteor. But he’s okay. The meteor has landed, however. Umaps gives us additional clues, seemingly, about the impact (or “impach”), relating it perhaps to the “inch” measurement, for some reason. Inch, ounce, pound?


Another place we see the same cartoon meteor from 12 Oz mouse is the 6th collage of the series called “12 Pound Mouse Mound”…


12 Pound Mound is a terraforming anomaly in Nautilus City recently re-discovered (and newly named) by Baker Bloch. In the collage, the anomaly transforms into the new body or torso of 12 Oz Mouse himself, his head awaiting the impact of the meteor, per the accompanying video seen in this earlier post.

So “Boos Attach” is a completion of the event first seen in the earlier collage “12 Pound Mouse Mound”: before and after pictures. The meteor has landed.

And with it, perhaps the (fictional name) Thornberry Tungaska Tungaske, Sask. is born.

The meteor gives birth to something new instead of destroying.



Another reasons to rename the town to Tungaska or Tungaske:

Meanwhile, when the Moose Jaw to Outlook (Macklin) railroad grade went through in 1908 and the tracks were laid, the north-east quarter of section 13, range 3, township 22, west of the third meridian, was set apart by the Canadian Pacific Railway as a townsite, and the CPR assigned the name “Tugaske” to this location. There were already businesses in operation here in anticipation of the coming of the railroad. Indignant citizens met to protest the name, which had a Russian sound, but the CPR pointed out that they had already printed maps, timetables and tickets using the name “Tugaske”, and it would be very inconvenient to change it. It was explained that the word “Tugaske” was a Cree Indian name meaning flat land. (Some claimed it meant good land or good water). The Tugaske Board of Trade immediately seized on this explanation and posted a sign near the railroad, just outside the town, where it could be read by passengers on the train as it went by, reading – “Tugaske means good land, good water and good people.”

Another possible name for the town: Goodwater.

Then this has also come up: Nederland, Colorado was formerly named Tungsten Town (T-Town again) and is located in *Boulder* County.


To complete another circuit of logic, Neal Stephenson’s metaverse described in “Snow Crash” is sometimes called a primary inspiration for the virtual world Second Life (setting of the “12 Pound Mouse Mound” collage), but which has been denied by founder Philip Rosedale.

In 1999, Philip Rosedale formed Linden Lab with the intention of developing computer hardware to allow people to become immersed in a virtual world. In its earliest form, the company struggled to produce a commercial version of the hardware, known as “The Rig”, which in prototype form was seen as a clunky steel contraption with computer monitors worn on shoulders.[13] That vision changed into the software application Linden World, in which people participated in task-based games and socializing in a three-dimensional online environment.[14] That effort eventually transformed into the better known, user-centered Second Life.[15] Although he was familiar with the metaverse of Neal Stephenson’s novel Snow Crash, Rosedale has said that his vision of virtual worlds predates that book, and that he conducted early virtual world experiments during his college years at the University of California, San Diego, where he studied physics.[16]


So let’s just leap into it, shall we?

First up is Boos 01 or “Bossmo”, the introductory collage of the series. We have the return of boxed and unboxed Boss Moss of Freakies cereal fame, first seen I believe in the 2013 Falmouth series. The Google Earth background image comes from Boss, Missouri, which can be shortened to Boss MO (MO being the proper abbreviation for the state). These are the same first 6 letters, then, of Boss Moss, a natural association.


The Boss Moss title on the lower part of each creates a rightwards linear extension of the yellow pin labeled “Boss MO” from the Google Earth image, the initial impetus for the collage. The box can even be seen to block or hide the ending “ss” of “Boss MO”, if there were such letters.

To further cue this up, I decided that both boxed and unboxed Boss Moss should be pointing to a particular thing with their indicating fingers. Boxed Boss Moss points to a camper parked behind a rock house we’ll see better in the next several collages. More prominently, unboxed Boss Moss points to a small square; it almost appears to be balanced on the end of his finger. In Streetview this turns out to be a parked car, perhaps a junked or broken down one. A little later on in the series, this becomes understood as a kind of “seed”. It is also symbolically a Buick, if not one in reality. I couldn’t tell by the limited vision I had of it in Streetview.

I should also state here that the, to me, unusually green pond directly above unboxed Boss Moss also acted as a hint to the cueing.


In Boos 02, “Bixby Shuffle 01”, we have a direct continuation of “Bossmo”. We’ve simply gone “into” the map depicted in the first collage by activating the Streetview option for this location. We can now understand that the square Boss Moss is pointing to in collage 1 is the front end of a car, partially hidden by a tree in the aerial view. It was logical to have unboxed Boss Moss just point to it again in the second collage. Similarly, boxed Boss Moss is again pointing to the camper, although his box obscures most of it. Notice also that the white rectangle forming one side of the box is precisely aligned with the same white-ish driveway in both collages.

The only really new pictorial element of “Bixby Shuffle 01”, understanding all this, comes in figures appearing in the windows of the rock house centering the collage. In collage 01, the overhead image of this house is basically blocked by the torso of unboxed Boss Moss. In the now exposed openings of the house appear two images culled from the 1978-1982 tv series “The Incredible Hulk”, starring Bill Bixby. To the left, through the opened or removed front door, we have Bixby appearing as David “Bruce” Banner, a well respected physician and scientist who works at a research company. Perhaps also playing a role here is the fact that the character’s wife died in an *automobile* accident, a tragedy that directly leads, in a chain of associations, to Banner turning into the green hulk monster (The Incredible Hulk of the title) when his negative emotions are stirred. The monster appears in the window to the right of the door. The “Bixby Shuffle” of the title, framed through these two openings, refers to Banner’s constant back and forth transformations from normal human to hulking monster in the tv show.

new image introduced in “Bixby Shuffle”

(to be continued)



(continued from)


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

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

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

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

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

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



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


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

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


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

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

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


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

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

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

Full script of the show is here:

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

(to be continued)



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

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

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


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

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



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


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

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


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

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

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

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

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

The “Wheeler anomaly” in Boss, MO

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

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


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

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


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

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

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To continue with the “Head Brains” analysis… instead of resting his hand on the back of the brown cow, Davy Jones clutches the edges of a superimposed spool table. Zappa perches at the top, a dark twelve o’clock figure. A large finger emerges from its center pointing directly to Frank, which I happen to know is a middle finger. The figurative bird that Zappa may be giving Davy at this point in the movie (“…your song’s pretty white,” etc.) seems to manifest for real in the collage. But, if so, the finger is actually pointing at us, the viewers. Hmmm. Jones stares right at it, perhaps aware of the context.


However, in looking at it closer, the finger is not pointing directly to 12 if the round spool table translates into a clock (and the finger the hour hand of a clock). The pointing is slightly askew to the right. I think this might represent the clock time 12:01, which can be rewritten as 11 hours and 61 seconds, or 11:66. Let’s keep that in mind to see if more evidence appears later on in the collage series.

Finally we have the transparent giant head of Subgenius prophet Bob Dobbs in the background, his visible eye perhaps fixated on the finger. Zappa was known to be something of an admirer of the Subgenius religion. And that’s another reference to “Head”.

In “Head Brains” we have another clear reference to the Bigfoot art event. One of the fixtures of that event, just recently completed of course, is a spool table, found at the Plateau of Raw Art and then rolled down the hill through the 4 roads territory to be placed beside Bigfeet Swamp and act as a centerpiece. I’ve already speculated an association with the name Brian Head, perhaps itself derived from “Brain Head” and thus directly related to the title of the present collage. I was aware in making this association that the “Head” of “Head Trip” is symbolically white or yang, which makes the complementary, circular iron smelting plant beside it in the Bigfoot event black or yin in energy, linking to the “Trip” part of the audiovisual synchronicity’s name. Let’s leave it at that for now.


In collage 08, called “When Wheels Went Round”, the spool table returns as a dominating image, or at least the top of one. Now it becomes directly linked to the central Nautilus City location called The Citadel, created on a circular plateau raised about 40 meters above the rest of the otherwise quite flat island-city (save one higher hill to the west). The wall encircling the plateau remains in the collage. However, the top portion with the roads and such has been removed, replaced by the top of a spool table image I found online. The golf iron extending toward this modified Citadel from the foreground is culled from a Bigfoot photo — it’s the original “iron” of the city, found by me prior to the event. That’s my hand holding it, then. In “When Wheels Went Round”, the *head* of the golf iron rests against the bottom of The Citadel wall.

The collage is actually a 2 part animation, where the whole Citadel appears to rotate round and round, or at least that’s the effect I was going for. This reinforces the association with a clock, once more. The Oz wheeler first seen in “Simpsons Road Bloch” a couple of collages back reappears on the edge of the spool table, remaining steady as the table revolves below him — a fixed point. He seems to stare into the central hole of the table, which duplicates an actual hole in the middle of The Citadel. I suppose showing the base snapshot I used for the collage is appropriate here to understand this…


That’s my Fal Mouth Moon gallery at the bottom of the photo, which remains in the collage. The iron and my hand holding it have the same kind of sepia tint to them as the gallery, a color scheme that will resurface later in “Comparative Heights” (collage 24 of the series). Like everything else in the collage *save* the spool table and accompaning wall, the iron remains the same in both parts of the animation. Only the transformed Citadel changes, with its perpetual whirling.

So what is the meaning of all this? The Wheeler is obviously associable with a wheel, per the collage’s title. Wheels go ’round and ’round. I return to the idea of a clock, with the iron perhaps acting as another type of clock hand, or an indicator of a specific time. Will the giant finger reappear from the central hole when the clock strikes twelve (whatever that means)? The ribbed wall brings to mind clock gears.

Let’s push on…



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In the 9th collage of the Boos series, entitled “Goodwater Goodland 01”, we return to a Missouri setting, with the base photo being of Mina Sauk, highest waterfall in the state and located in Iron County. In an early draft for this collage, I simply superimposed a map of this county onto the 2 tiered falls, with the idea that both appear in two basic parts as you can see here…


The rusty colored patch on the rocks of the falls just above the map acted as another tip to unite the two elements. Then in subsequent drafts the Iron County map was replaced by a “rusty” book I found in cemetery photos of Tungaske, Sask.: the two halves of the county become the two parts of the open book, which the falls pour into (edge) and then pour out of (spine).


The book is also notable as being the first image from Tungaske that I use in the Boos collage series, following by many more. The link which led me to this tiny, remote Canadian village? It’s the presence of population places named Goodwater and Goodland in the western part of Iron County, and in the same township (Dent) as the aforementioned Buick and Bixby communities there. Googling images through the conjoined “goodland goodwater” names quickly brought me to this Tungaske cemetery. Among the many pictures online the rust colored funerary book jumped out at me.

In the images I also found this one…


… and later learned that the name Tungaske itself means Goodwater according to some sources, thus its presence in the title of what is apparently the definitive history book for the community. But there’s more to the story than this. Check it out here.

The history book and the funerary book are now joined as one. I call the fictional synergy “The Big Book of Rust”. We may even quote passages from it later on.

Now to the elements added just a bit beyond this in the lower part of “Goodwater Goodland 01”. We have the return of a woman artist from the 2nd collage of the Stonethrow series, the one coming before Boos.


In the present collage, she is again placing a round object into the white “eye” of a tajitu or yin-yang ball. I newly associated this with the Bigfoot art event, which took place in meantime. Namely it is the placement of the “iron smelting plant” to mark the center of the *yin* aspect of the marble race track, where it circles back around to head toward the spool table and complete its circuit. In the new collage, the sculpted eye she holds in the Stonethrow work is replaced by a similarly round sewer cover held down by a hand of Homeless Man (who himself appears in a subsequent Stonethrow collage).


If we look closely, we see the sewer cover, although the same “size” as the pictured white eye of the symbol, is turned in a way that will not fit this eye. The artist even seems to hold the eye more than the sewer cover. This could refer back to the “seed” of earlier collages, which appears in 2 forms perpendicular to each other (car and car’s license plate). There’s also a good chance that the woman artist of “Goodwater Goodland 01” stands in for another female artist from Tungaske, associated with the same tajitu sphere in a collage we’ll be examining soon. But for now, something doesn’t seem to quite fit yet.

And then the final elements of the “Goodwater Goodland 01” — 3 images of the same wall mural — also comes from Tungaske, being placed over on the other image (funerary memorial book) from the same town and partially obscuring it. This could represent differently angled illuminations from “The Big Book of Rust” itself.

(to be continued)



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And then in the 10th collage of the Boos series, called “Goodwater Goodland 02,” we have a direct continuation and also *inversion* of the central images of “Goodwater Goodland 01” coming before it. The Tungaske mural is now seen as a *whole* and not in several parts, albeit with rectangular holes where the smaller differently angled pictures have been removed. The inverted image is, however, still superimposed over the same rusty looking funerary book found in the town cemetery.

It’s a very simple but startlingly effective work to me. With this mere single addition, a cemetery monument has transformed into an alien face, which I originally dubbed “The Martian”. We have gone quite a ways now from the relative rawness of the first several collages of the series, and have seemingly latched onto a newer, more powerful artistic energy. I identify this with the energy emitted from the town of Tungaske itself, an artistic hamlet after all. I didn’t really grasp this probability until after creating “Goodwater Goodland 02” and then doing some subsequent research.

I could have stopped here in the series, happy with the transmutation of base elements of collages 01 and 02 into a new form with the inversion of these Tungaske core elements from 9 into 10. I’d symbolically flipped around the tajitu sphere appearing in 9 from yin to yang, seemingly.


Many of my collage series come to a halt with the 10th work, after all, including the 3 that appeared before this (Sam Parr, Embarras, Stonethrow). But it was destiny that I forge ahead in this case, the first time this “extension” has happened since the Falmouth series unfurled about a year and a half ago now. Boos was destined to contain around 27 collages as a whole by present count.

Missouri would not appear again in the series. Tungaske has taken the upper hand.

completed floor 1

(to be continued)