Shining/Pepper Project 01
The MESH Pyramid.
Compare with here (toggle back and forth to see changes).
And then here.
Hucka D.:
11 individuals are involved in The Pyramid. Future researchers will divide over some choices. Jack is obviously Paul, however. Ring woman becomes Ringo, as we’ve discussed before I believe. The spectacled guy becomes similarly spectacled John Lennon. Some say this is a young Woodrow Wilson. Then the other woman is obviously a fit for George Harrison. I don’t think there’s any error in these choices. Good work!
bb:
Thanks, Hucka D. Then the man with the 3rd eye subs for Pepper’s William S. Burroughs. That’s another obvious one.
Hucka D.:
Correct. (pause) The first controversial choice may be Closed Eyes Woman for Marilyn Monroe. At first I believe you had her as George instead.
bb:
Yes. Marilyn seems to fit[ however].
Hucka D.:
They[ William S. Burroughs and Marilyn Monroe] form the top of the pyramid, with the Burroughs sub still dominating. He is obviously the eye at the top, see.
bb:
Yes. Illuminating.
Hucka D.:
The two woman in the middle right take the place of… just checking (pause)… artist Larry Bell [lower] and explorer David Livingston. I think the mustachioed guy makes a great fit for Johnny Weissmuller, the swimmer who played Tarzan.
bb:
Yes.
Hucka D.:
Let’s see, that’s 9 of the 11. Then Issy Bonn is the smiley guy. Then the 11th is almost hidden by the hand… that’s (pause) writer Stephen Crane. Sister Carrie Stephen Crane. The hand is Jack’s again, to complete. It’s like a rack of [shiny] billiard balls, formerly disorganized. That’s what Pepper did for The Shining.
bb:
10 in number.
Hucka D.:
Yes. Beatles at bottom. 4 across. Then 3 then 2 then 1. The All Seeing Eye.
bb:
But there’s the 11th to deal with.
Hucka D.:
Much controversy will come of that.
http://en.wikipedia.org/wiki/Tetractys
Shining/Pepper Project 02
(continued from)
Images from the 1921 photograph ending The Shining (“Shiny Happy People”) sub for the following Pepper people:
http://math.mercyhurst.edu/~griff/sgtpepper/people.html
1. Burroughs, William S.
2. Monroe, Marilyn/ Livingston, David
3. Crane, Stephen/ Hand
4. Bell, Larry
5. Weissmuller, Johnny
6. Bonn, Issy
7. Lennon, John
8. Starr, Ringo
9. McCartney, Paul
10. Harrison, George
—–
And in this fascinating series of posts from the “Nothing is Real: Paul was Replaced” board, we again have mention of the 3rd eye, like the William S. Burroughs sub prominently displays in a Shining crossfade, as discussed before. A good, added theory coming from my direction is that Burroughs *transfers* his own *hidden* 3rd eye to two, specific Pepper images that jarface indicates. This is a direct transference from Kubrick to The Beatles…
http://invanddis.proboards.com/thread/5758?page=1
Now it is time for me to show you the treasure. Going back to Poe’s Goldbug:
…shoot from the left eye of the death’s head…a bee-line from the tree through the shot…
In the story, a golden beetle is dropped from the dead pirate’s eye. Consider the fact that gold is yellow matter and sailors are called dogs, and you can now make perfect sense of the lyric from I Am the Walrus that says:
Yellow matter…dripping from a dead dog’s eye
If you have not figured it out already, I Am the Walrus is all about Sgt. Pepper. Several lines from the song refer to people who appear on the cover. The pornographic priestess who let her knickers down is none other than Marilyn Monroe, who was the first ever Playboy centerfold. Mister city policeman is Sir Robert Peel, who is known as the father of city policing, and who founded Scotland Yard. He is sitting pretty, little policeman, in row two.
But I digress. The picture below shows the shot from the left eye of the death’s head (played by Paul) in yellow. It shows the “B” line going “through the shot” directly over Paul’s heart. We further see that the only visible piece of “treasure” on the cover, i.e. the trophy, points directly to the same spot over Paul’s heart. Clearly we have found the location of the treasure:
Finding the location of the treasure is not enough. In Poe’s story the hero William Legrand had to dig for his treasure; we must dig for our treasure too. It is obvious that we can not physically dig, so in the spirit of parody we must search for another meaning for the word dig…and we do not have to look far to find that meaning. When we follow the line from the trophy through Paul’s heart we discover that it points to William S. Burroughs. His name sounds like ‘burrows,’ which of course means to dig a hole. In the story, our hero William Legrand burrows for his treasure.
William burrows. William Burroughs. Wicked clever Beatles!
The above example seems to indicate that we “dig” by finding pairs of related objects that lie on opposite sides of Paul’s heart.
Here are two related objects that stand out. The stone bust has a prominent bulge that marks the location of its “third eye,” and Carl Jung has a prominent shadow on his forehead, made by the bridge of his upraised glasses, that marks the location of his third eye:
When we draw a line from Jung’s third eye to the stone busts’ third eye we see that the line passes directly through Paul’s heart:
These final 2 images seem to summarize jarface’s theories. The 2 “3rd eyes” of Jung and the statue he’s pointed out lie equidistant from Paul’s identified heart, and imply a tilted rectangle which meshes perfectly, somehow, with the circle defined by the drum to produce an overlay hexagon and star. Quite remarkable!
http://invanddis.proboards.com/thread/5758?page=2
(continued in?)
Shining Pepper Project 03
Collage 07?
Collage 08 TEST:
COLLAGE 09:
COLLAGE 10 TEST (animation):
Collage Series Continues…
bb:
Hucka D., it seems… well, just read the title.
Hucka D.:
I can’t see up that far. I’ll have to get a step ladder.
bb (solving the problem):
It says, “Collage Series Continues…”
Hucka D.:
Oh. Yeah. That’s true. What now?
bb:
I thought we’d talk about it.
Hucka D.:
Obviously The Bill want to talk to you.
bb:
Through collage?
Hucka D.:
A way to get through. You’ve refined the process. They’ve refined on their end. It’s a match.
bb:
What does collage 08 mean, then? This is Bull Rocks, plural, both destroyed (in 2011) and then resurrected but protected in a jar for some reason (2012).
Hucka D.:
It is about death and resurrection, true.
bb:
I don’t think Todd is going to like me stealing his copyrighted image.
Hucka D.:
Won’t be the first[ won’t be the last].
bb:
He’s protected from the elements. But what does this have to do with *my* Bullrocks?
Hucka D.:
That’s not your Bullrocks either. For one thing, now you know it is a *quiet* zone. Don’t go ’round breaking ice and making it sound like a shotgun. Scared the poor things! Then they saw you — “Him again”, they thought. “Typical”.
bb:
But still they want to communicate with me.
Hucka D.:
They’ve assigned a person — a being — to you, yeah. They read this here blog.
bb:
“Bullrocks” [new name of collage, just coined] obviously has something to do with the story of The Bill.
Hucka D. (remembering):
That was his name. Bill. Bill was assigned to you.
bb:
But they’re… oh, good one. A Bill of The Bill. How much have they manipulated[ in the past/present/future]?
Hucka D.:
A lot! They’re pretty smart, as you’ve gathered. You can’t outthink them. Don’t try. Don’t try to run. They’re not after you. They want to cautiously communicate. You have years and years.
bb:
Billfork the carrcass — did they create that?
Hucka D.:
Yes! They own The Bill. They *are* The Bill. (pause) Kind of.
bb:
And then Zapple’s Bill the Mountain.
Hucka D.:
Obviously. Then they stuck it in Maine for you to find. Split around Mexico-Peru. Then Norway-Sweden-Denmark… you get the picture.
bb:
I do? Reversal of north with south?
Hucka D.:
Yeaaaah. That’s it.
bb:
They’re the good Grays.
Hucka D. (repeating):
Yeaaaah.
bb:
The good Southerners. Like I’m a good Southerner.
Hucka D.:
In Gray is buried a single Gray Confederate soldier in a sea of Blue. That’s The Stranger.
bb (checking):
Ah yeah, I remember.
Hucka D.:
Gray contained the Blue Feather Gallery. Not your gallery but… yeah, it is still. Was.
bb:
On Brown Street.
Billy the Mountain.
The Story Room-ish Invasion
http://en.wikipedia.org/wiki/Good_Grief,_Idaho
http://en.wikipedia.org/wiki/Good_Grief,_Charlie_Brown:_A_Tribute_to_Charles_Schulz
Good Grief!
Red Rock (Collage 12)
bb:
Very bizarre seeming, Hucka D. I don’t like the blood splatter.
Hucka D.:
Neither do they (!). The splatter stands for the red rock and the pointy stick beside it. The rock is blood, true. True Blood.
bb:
Is it simply the noise that bothered them?
Hucka D.:
No. They want to…
bb:
Communicate.
Hucka D.:
Yes. All Seeing Eye. Colorado. Seal. Highlighted Snoopy Nose, like in Shot 61, I believe you’ve numbered it.
bb:
Numbered by someone else.
Hucka D.:
That shot was influenced by The Bills directly.
bb:
Interesting.
Hucka D.:
It is (!) How did they do that?
bb:
Let’s see: *noise* was highlighted by visuals in that shot.
Hucka D.:
Correct, good. Dog. Good dog.
bb:
So The Bill are trying to tell me through this that they did those mistakes in 61.
Hucka D.:
61 is highlighted elsewhere. Rat, for example. And Andromeda[ Strain].
—–
12:06pm:
bb:
So back to the collage (now finished, I believe). The hand is an alien one, seeming to emerge from the rhododendron to deposit the namesake red rock on the ice bank. Red is also on the hand in the form of (fake) blood, as in a movie. The collaged hand is that of not Jack Nicholson’s, as you would imagine if you knew the related scene from The Shining, but Stanley Kubrick’s himself. This is the broad scene…
http://en.wikipedia.org/wiki/The_Shining_%28film%29
Danny writes “REDЯUM” in lipstick on the bathroom door. When Wendy sees this in the bedroom mirror, the letters spell out “MURDƎЯ”. Jack begins to chop through the door leading to his family’s living quarters with a fire axe. Wendy frantically sends Danny out through the bathroom window, but it will not open sufficiently for her to fit through it herself. Jack then starts chopping through the bathroom door as Wendy screams in horror. He leers through the hole he has made, shouting “Here’s Johnny!”, but backs off after Wendy slashes his hand with a butcher knife.
Hearing the engine of the snowcat Hallorann has borrowed to get up the mountain, Jack leaves the room.
… and this is the part about it being Kubrick’s hand that reaches through the door, and from a specific source…
http://www.davidicke.com/forum/showthread.php?t=205856&page=47
After Wendy Torrence has managed to get Danny out of the window, her husband breaches the Bathroom Door and removes the panel closest to the door-handle. After some theatrics, he reaches into the Bathroom to try and turn the key to the Door. Wendy Torrence strikes his Hand with her knife – and his Hand is left with a fairly sizable slash mark. Given the significance of what I have recently described in relation to this Bathroom Scene, it is appropriate to note that the Hand we see entering the gap in the Bathroom Door does not belong to Jack Nicholson, it is actually Stanley Kubrick’s. This point was raised in one of the ‘Makings Of’ “The Shining” – the speaker citing the rationale that ‘he just wanted to do it himself for some reason’. I believe the reason he chose to use his own Hand has been clearly explained by the details in Key 6. His own personal appearance in this scene might be the last known instance of him appearing in one of his films. The only other instance I know of occurred twenty years prior to “The Shining”, when it’s believed he made a brief appearance in Lolita, disguised as Humbert, crossing the threshold into Clare Quilty’s mansion. As far as I know these are the only two occasions when Stanley Kubrick ‘put himself in the picture’.
Hucka D.:
The hand is then alien to the actors in the film — it’s the maker of the film’s instead. And this is the same for the situation in Frank Park. It’s the maker of the park. True.
bb:
Hmmm (again).
Hucka D.:
Do you not believe me?
bb:
Not sure, Hucka. Can you explain more?
Hucka D.:
The park — parks — are a virtual reality, just like a film. The “director” reaching through and displaying his own hand for those that know is a telling sign. Just like in The Shining for Kubrick’s hand, as your mata has guessed. He knows more than he’s letting on( however).
bb:
Let’s see… the red rock is like the splattered blood from the suddenly slashed or cut hand. It’s not a deep wound on the hand in the movie. The splatter even seems to make a meaningful pattern, and I’ve directly transferred this splatter into the collage. Lucy from Peanuts pulls a football away from Charlie Brown, making him fall down. But in the collage, Charlie is missing, although his “air trail” is still mainly present. In depositing the red rock on the bank, the hand risked exposure, and is slashed.
Hucka D.:
The rock *is* the slash.
bb (looking again):
Okay, thinking more down to earth, I could have slipped on that ice on the bridge, just as Charlie Brown (missing) did when Lucy yanked the football away. So it’s me that could have slipped and been hurt. Not slashed probably but still hurt.
Hucka D.:
Yes. But probably not as well.
bb:
Okay… the slip is a *reverse* of the blood splatter. It *slips back* onto the hand.
Hucka D.:
Correct (?)
bb:
In the collage, nothing is hurt, is injured. The injury is reversed back onto the hand. The “director’s” hand then retreats back through the broken door panel — unharmed. The All Seeing Eye is probably that of the same entity. As Kubrick probably created the film mistake over Snoopy’s nose, so we have the same type of effect in Collage 12 here.
Hucka D.:
The title is “Rats!”.
bb:
Thanks for that. Snoopy’s image comes directly from the Peanuts curtain in shot 61 — the same kind of curtain, I mean (and not a direct cull from that scene). Next might be the separation and categorization of black and white rocks. Black and white and then red all over. Red Rock.
Hucka D.:
Correction. The title is “Red Rock”. Sorry.
bb:
That’s okay. “Rats!” may be used later.
Hucka D.:
Apologies once more.
bb:
It’s okay; don’t worry( about it).
Hucka D.:
Black and white rocks next, then!
(12:23: larger ring effect on Peanuts curtain drape as dr. closes case; Snoopy’s nose highlighted)
Collage 13
“This is the Place”
Alright Hucka Doobie. What is *this* about?
Hucka D.:
You used my full name. You *must* be interested.
bb:
Cool. I’ll go ahead and start. The figure in the middle, at its base, is Jack from the movie The Shining. His face has been hollowed out, so to speak, to let a cartoon version of his laughing face peek through, or bleed through. This would include the crazy, spiky green hair, the two asymmetrical bulging eyeballs, and the single tooth gaping mouth. In turn, the crazy mouth is hollowed out to show the field and path beyond. So in a way the Jack figure could be seen as a facade.
Hucka D.:
This is you. You and your job, your responsibilities. This is a perfect mirror. You are trying to reach through to the beyond, the place where you won’t face responsibilities as part of the facade. Challenges lie ahead, yet you already see the end. You have to go through these because Edna has her own set of responsibilities, outside of this. This is on *your* head.
bb:
So the prez is my boss, and also my co-worker.
Hucka D.:
Yes. Similar to the shark in the Falmouth series. Yet you’ve progressed even beyond that. You’ve returned from England, more mature. The shark aspect is more in shadow or outline. *All* look beyond now. A clock is ticking in the distance, yet keeps the same time. 2:23. That is what everyone is headed toward.
bb:
I am also Mouse. The Mouse.
Hucka D.:
Definitely. That is fear. Fear of Shark, in a way. Fear of axing even, perhaps. But it’s two mouths in one. There’s the shark’s mouth overlapped with the man-woman’s mouth. This has to do with beyond the facade, the job, the work.
bb:
This is a gateway collage.
Hucka D.:
Yes.
bb:
The setting is Frank Park, across the road from Bill Mountain but still close. In the background we have a mound. It use to be much larger when Edna and I made that film there. Perhaps I should post the film to Youtube: “This is the place” (title of film, perhaps). (pause). You know in looking at that mound, I think it is the older, larger version, the Tiny Silbury version. I think we see only the top of it from our perspective here.
Hucka D.:
Wyeth’s painting character… stares at it. This is Christina. You should study that painting.
bb:
I will. The fox jumping over the dog is reference to the… let me look up the word from the Nollop post, perhaps. Hold on.
Hucka D.:
Holding.
—–
https://bakerbloch.wordpress.com/2014/01/29/chat-3/
So it refers to the *pangram*, “The quick brown fox jumps over the lazy dog.” This is that fox, that dog. The fox jumps again. The dog lazes (in front of the mound). And it’s all in that speaking balloon. This is what Jack says.
Hucka D.:
And what shark says and what man-woman says. They all say the same thing. All are headed toward 2:23.
bb:
The corndog reappears from the Falmouth series as well. Shark hates corndogs. Corndogs are a symbol of laziness?
Hucka D.:
In part. Think bigger picture. What is the role of the corndog in the days beyond?
bb:
It’s still not too far from Jack’s hand. It’s there still. Lying in the middle of the path before Jack. Ready to be partaken of.
Hucka D.:
President Rutherford “Booger” Hayes then plays a role. He was last seen in this here blog eating corndogs, I believe.
bb:
Could be. Project Big Chimney.
Hucka D.:
Think about that project again.
Shark is not a bad shark. It is saying, think of the beyond. The quick brown fox jumping over the lazy dog. This is your challenge. You are *both* the fox and the dog. This is your decision point. The two tendancies, action and nonaction, oppose each other. This is your job and your not-job, one fitted inside the other.
bb:
And the mound between them.
Hucka D.:
This is the mound of the future. All gaze and ponder upon it. This is the place. No one has all the answers now, not you, not the boss, not the co-workers.
—–
bb:
Oh, and then the pea pod in the front of the collage, subbing for Jack’s left arm, is another reference to the Dunn novel “Ella Minnow Pea”. A pea pod is on the cover of the novel. This is the same pea pod that Baker Bloch found underneath the weathered bench at one end of Baker’s Isle in Second Lyfe — *his* Baker’s Island.
Hucka D.:
Yes. Further identifying you, baker b., with the central Jack figure here. This is LMNOP.
bb:
This is tiling.
Hucka D.:
Yes.
The island’s high council becomes more and more nonsensical as time progresses and the alphabet diminishes, promoting Nollop to divine status. Uncompromising in their enforcement of Nollop’s “divine will”, they offer only one hope to the frustrated islanders: to disprove Nollop’s omniscience by finding a pangram of 32 letters (in contrast to Nollop’s 35, or just 33 in the version “A quick brown…”). With this goal in mind “Enterprise 32″ is started, a project involving many of the novel’s main characters. With but five characters left (L, M, N, O, and P), the elusive phrase is eventually discovered by Ella in one of her father’s earlier letters:
Jasper County collage series
I believe the buck stops here: Falmouth.
Eliminating the original (2004) Greenup collage series (often skipped over in My Second Lyfe galleries), we continue to progress through the Art 10×10 at Rose Hill (2005), then Yale (2006) and Newton (also 2006) to Oblong (2007), which is also just outside of Jasper County like Greenup and not shown on this map. Then we finish out the 10×10 with Hidalgo (2008), Wheeler (2009), and Jasper (also 2009), with the Newton County seat subbing for Jasper County as a whole in this case. I thought the Jasper County collage resonance was over and done with. But last year I decided to name a new collage series Gila, continuing the process once more after a 4 year pause. This is not part of the 10×10, but an extension. I show this extension with the purple lines on the above map. From Gila quickly followed Latona and then Lis, part of the same 2012 flow. Then the 4 part Falmouth collage seemed to act as a capstone to what I started called the Gilatona Lis series, but seemed to not be an official series of its own. I still believe, now, the buck stops with Falmouth, then, and will not extend into other Jasper County, Illinois names like Bogota or Sam Parr (State Park) or Island Grove. Falmouth lies directly beneath Rose Hill, so it’s like the proverbial snake swallowing its own tail.
What will the new and brewing collage series be named, then? Otoe is an early choice, but that may change.
Another option is *Embarras*, named after the Embarras River which cuts through the *center* of the above highlighted towns and villages in Jasper County. Interesting.
blushing Embarras in relation to its river family.
Embarras, with midpoint in or very near northern Jasper County, connects that county and its collage systems to the outside. To Greenup. To Oblong and beyond. Perhaps the whole 10×10, the whole 10×10 extension in Gilatona-Lis, is part of Embarras.
Collage 14
2:23
Free Form
“Thanks for showing up tonight, Hucka D.”
Hucka D.:
My pleasure. I hope you’re having a pleasant evening. It’s a little cool where I am.
bb:
I’m taking the bait. Where are you?
Hucka D.:
Heaven.
bb:
Dead?
Hucka D.:
Just visiting. So you understand you have to move.
bb:
Maybe.
Hucka D.:
It will not be as bad as you think.
bb:
I don’t see how it couldn’t.
Hucka D.:
I’d like to talk about the recent collage[, then]. Collages. What is this new series?
bb:
I don’t know, Hucka D. But I don’t think it’s finished.
Hucka D.:
Bill Mountain is what it is about. Go into Second Lyfe and have a look.
—–
bb:
Opening.
—–
Hucka D.:
Let’s look at, let’s see, well let’s start with Collage 1.
You know this is a melding or assimilation of The Shining into something beyond. You have gone beyond Shining research now. 6 parts it is. “6 Weeks of Shining”.
bb:
Yes, it’s an interesting document. Will be.
Hucka D.:
This is beyond the 6 weeks — the whole collage series is. Shining energy is trapped within Pepper[ album cover]. Jack is Paul. Ring Woman is Ringo. Let’s move to collage 02. We have Bullrocks here, not your Bullrocks but, yes, still your Bullrocks. The resurrected bull, now protected in a jar, steps on the old, shattered bull. Beside the shattered bull is the similarly positioned Mr. Bean, here Mr. Beam, then. Something crashed in those woods.
bb:
Get out of here.
Hucka D.:
Truth. An accident. Devizes were left behind to protect. But that’s what you have. You have something beamed down. I speculate a crash.
bb:
But it could just be something beamed down. At Bull Rocks?
Hucka D.:
Yes. “What will it be?”
bb:
In the 3rd collage we have Wendy’s can of peaches turning into the Devil’s Tower of Close Encounters. She is turning it into a Flattop. This is Bill Mountain, again, then, because we know it is a place of contact as well. Hearing in this case. Jack and doppleganger Wendy and friends sit around, staring. Coburn shakes hands with Wendy? No. He holds hands with the woman below Shelly Duval, who played Wendy in The Shining. Later we…
Hucka D.:
Later we will learn that this is a handshake with the mountain itself, and the *stars*. A particular star. Starr… star. But here, for now, it’s not quite clear what’s happening.
bb:
Then collage 4, a pretty simple 4 part animation. Similar to the Bull’s 4 part collage of the previous Story Room animation, but simpler. We only have a plane in the topography, heading toward an alternating Paul-George and Ringo-John pairing off the Abbey Road album. The plane is heading toward VW Beetles. It heading toward The Beatles as a whole. It is heading ultimately toward John. It is the bullet that kills him. The two Beetle cars are from the Shining — yellow, and Abbey Road — white.
Hucka D.:
Let’s move on, still. Next we have phase 2 of the new collage series, starting with this one.
Similar to the first collage in that we have a Sgt. Pepper cover dominating the background. Here we do not appear to have any Shining people subbing for Pepper figures, however. There’s one link — the 3rd eye of the man who replaces Burroughs is still present, illuminated on the bottom of the red, floating figure at the top. That’s one of the Story Room band again, and we also have the yellow and blue members in the collage, although all without their geometric heads. The yellow figure’s head is instead replaced with that of Charlie Brown. Although really not planned, the curl of his hair represents the 3rd eye again, like we have in the golden statue near his feet, and like we have with Jung above him, although Jung is blocked by the red being here. Charlie Brown is illumination itself. He is perhaps also Jung himself. Synchronicity. The Good Grief reference is Charlie Brownian as well, but original comes from a small village of that name in Idaho I stumbled across just before this. The town points to this collage.
bb:
You’re saying to me the town takes its name from this collage?
Hucka D.:
Yes. The collage came first in this case.
bb:
But, logically of course, it couldn’t have. It’s synchronicity.
Hucka D.:
Snoopy’s water bowl acts as a poor substitute for the red being’s spherical head. Deformed substitute might be a better way of putting it. The word “ear” is highlighted between the yellow being’s feet. Let’s move on. Next collage we have the return of Snoopy and the highlighting of his nose, once again. Jack returns but only his hand, which is cut. Wendy has just cut it with a knife to defend herself in The Shining movie. The red rock is dropped on the ice bank, perhaps blood, but perhaps just a way of communication. The rock…
Do you wish to stop?
bb:
Unsure, Hucka D.
Hucka D.:
Well, we’ve covered this collage in another post, and also the one following. Let’s shift to the last one of the series so far, the one we haven’t talked about. It’s actually related more to the first 4 collages, in that it combines elements from all of ’em.
From collage 1 we have the return of The Shining people as incorporated into Pepper. From collage 2 we have Mr. Bean or Beam, now atop a UFO. But he’s actually attached to the reverse of a bottom. He seems to spill out from the flat top of Devil’s Tower, also reversed. This is from collage 3, then. Also reappearing from collage 3 are all of the black and white figures, and then an additional one: Ringo Starr, who is shaking hands with James Coburn. Starr was edited out from the same figures in collage 3. Starr is a particular star. The et’s of Close Encounters are the Good Greys. Starr shakes hands with Coburn. Is Coburn Earth? Mr. Bean or Beam’s foot rests on his hair. The same foot rests on the leg of crashed Bullrocks in collage 2.
Starr and Coburn shake hands over the right eye of Ring Woman dressed as Ringo in Sgt Pepper. There are also 2 Jacks in the picture. The miniature head of Walking Paul, followed by Walking George, fills the eye of Jack, in turn subbing for Paul’s Pepper head. The flash to end collage 4 may instead be a star. Or maybe a crash, since a car is involved. The white beetle reappears here also. What is this?
Collage 15
“Grayson (Dis/En)closure”
Some preliminary thoughts on this…
I think this is an *attempt* at healing a painful situation depicted more in full in Collage 13, which contains the same central Jack figure. Here Jack is not as much a facade as in that earlier effort, but an enclosure. His face is not 2d but superimposed with a head that represents a montage of President Eisenhower (of Grayson County) and his representative to the grey aliens, supposedly. I assume the head speaks of aliens, then, and the truth behind them. The rock enclosure may represent a place of safety to do this. Many of the elements from Collage 13 reappear, including the colorful pea pod on Jack’s arm, and also nearby 12 Oz Mouse/Fitz. The Shining’s Wendy is new to the scene, although she appears in the Collage before this (14) and also the earlier Collage 9 (2 Wendys in that case). She’s culled from the famous scene 61, studied by me in some detail in late Dec. and early Jan. Jack and the rock enclosure replace the reclining Danny of that static scene. In Collage 14 before this, Wendy also stares toward Jack at the bottom of the picture — and there are 2 Jacks there, one replacing the head of McCartney and one (to its right) turning around to face Wendy, seemingly. The tiny, walking McCartney and Harrison also are transposed to Collage 15 from Collage 14. And also as in Collage 14, they walk across Jack’s chest/torso. The handshake between Starr and Coburn in Collage 14 may be the thing being spoke about by Ike/Ike’s Representative in Collage 15. Why does Wendy look on and why is she cradling a giant corndog in her arms? This seems to represent a beginning of forgiveness. Acceptance of the corndog in the past. The evaluation is over, and healing must begin before any kind of integration can take place. The Wendy figure must own up to her part of the incident. Behind Jack and the rock enclosure is 2 fused pictorial elements from single movie synchs of the past, as Carrcass-10 represents the newest single movie carrcass, involving The Shining and it alone, in essence. We have Kevin from “Up” superimposed on Howl’s Moving Castle, with 2 eyes becoming 1 eye. Kevin and the castle become fused. They are direct kin to Jack because of the single movie carrcasses involved. Kevin’s body is similarly colored to the red rock of the rock enclosure — a rock temple, really. These rock temples, mid ground and foreground (1 and the same) might represent carrcasses, then, past (Up/Howl’s Moving Castle) and present (The Shining). The past has done its duty; the present still has some stuff to say, apparently. Grayson information. Military industrial complex stuff. The golden, upward path in Collage 13 transforms into the red, downward path or passage in Collage 15. Red is pain. Red is also information, painful in style. There will be an attempt to understand.
Room 237 Shining
Collage 16
A logical follow-up, and directly related to animation collages Jasper 05 and 06.
“Woods Slider Upper”
Revisiting (Collage 17)
“Where are these collages going?”
Hucka D.:
Whereever you wish. London?
bb:
I’m in Mythopolois now for the last 2, Hucka. Pretty interesting stuff.
Hucka D.:
You need to move back to Blue Mountain. Or not.
bb:
Revisit Greenup.
Hucka D.:
Of course (!)
“Separate but Equal”
18th Hole? (Figuratively if not Literally)
“Are you saying this is the hole Brainard dropped through to become a seed-tree instead of [just] a seed?
Hucka D.:
Yeah. Sure. Maybe.
bb:
He tumbled down Mud Creek Falls[, then].
Hucka D.:
And then Estatoah Falls… your TILE Falls. Everyone’s TILE Falls.
bb:
He became the complete 36. 6×6.
Hucka D.:
He became the perfect Magic Square.
bb:
Beyond Saturn, beyond Jupiter, beyond Mars… Sun. Earth?
Hucka D. (agreeing):
Sun. Solar. Mars within Sun. 5 within 6.
bb:
56.
Greenup Revisited
Collage 19:
Collage 20:
Collage 21
“Heads/Tails?”
Collage 22 (Roll’n On!)
“Erie Pool”
Collages…
… keep coming. Pretty amazing variety of locations for the Falmouth series, started around Jan. 13th or so. It may extend to next week or the week after that. But soon it will end, as Spring hiking season kicks in for real after the beginning of daylight savings time. We start out simply enough in Steptoe, Washington (state) for the 1st 6, but then with the 7th we’re in abstract land on the Sgt. Pepper album cover, which has suddenly become the absorber of Shining weirdness, arranging it in a logic pyramid of 1-10 (tetractys). This marks the start of stage 2 of the Falmouth series, as stage 1 becomes my first, actual animation of sorts (LINK). Stage 2 tends to feature more standalone works, although not entirely. Collage 8 finds us in Maine, in Collage 9 we’re back on the set of The Shining, Collage 10 takes us back to Steptoe Butte in Washington state, and Collage 11 back to Sgt. Pepper. Collage 12 and 13 are set in my hometown of Blue Mtn., the first use of that setting in my collages as far as I remember. Then in Collage 14 we’re in outer space. Collage 15 and 16 take us to *Mythopolis*, which I know I’ve never used in a collage before. Collage 18 is a combo of English Lake District (foreground) and Second Life (background). Collage 19 is set in the Georgia Mtns. Collage 20 and 21 find us in the Greenup Gill of the Lake District, where my modern collages started in 2004. Almost 10 years ago (!).
Then Steptoe Butte comes into play again in Collage 22, and in Collage 23 we’re purely in Second Life, around a small, beautifully landscaped pool of water on the Jeogeot continent (same as in background of Collage 18). American author Sherwood Anderson walks along the bank of the lake from his Ripshin home in Virginia set on the back end from us. On the opposite side, to our front, is positioned his unique gravestone, with the epitaph “Life not death is the great adventure”. A giant corndog and a miniature version of Mouse Island, Ohio, shaped like a corndog, lay side by side in front of him along the same bank, as if they have been jointly pulled out of the water. This is obviously Lake Erie in a way, since Mouse Island is found in those very waters, the pool is roughly shaped like Erie (a corndog-style shape itself!), and Anderson’s Winesburg is set nearby, based on Clyde, Ohio. Thus the title: “Erie Pool”. The place where Anderson walks perhaps represents the city of Elyria, where in 1907 Anderson started a successful paint business and then subsequently had a nervous breakdown, which he calls a turning point in his life. Afterwards he devoted himself to writing. Here’s a description from wikipedia…
http://en.wikipedia.org/wiki/Sherwood_Anderson
On Thursday, November 28, 1912, Anderson came to his office in a slightly nervous state. According to his secretary, he opened some mail, and in the course of dictating a business letter became distracted. After writing a note to his wife, he murmured something along the lines of “I feel as though my feet were wet, and they keep getting wetter.”[note 1] and left the office. Four days later, on Sunday December 1, a disoriented Anderson entered a drug store on East 152nd Street in Cleveland and asked the pharmacist to help figure out his identity. Unable to make out what the incoherent Anderson was saying, the pharmacist discovered a phone book on his person and called the number of Edwin Baxter, a member of the Elyria Chamber of Commerce. Baxter came, recognized Anderson, and promptly had him checked into the Huron Road Hospital in downtown Cleveland, where Anderson’s wife (who he would hardly recognize) went to meet him.[65]
Although the story varies as Anderson embellishes it in later years, it is probably true that he cast himself as a bonafide writer afterwards. Shortly he dumped his practical wife in favor of a radical artist (Tennessee Claflin Mitchell), his first novel was published several years later, and then Winesburg, Ohio, his literary triumph, emerged in 1919.
In looking at the collage in question closer I believe the bank stolling Anderson, having emerged from a dip behind him where he might have gotten his “feet wet” (see breakdown description above), is Sherwood Anderson The Writer, freshly emerged, like a butterfly, from Sherwood Anderson the Businessman. This is *his* Second Life, if you will. He is steps closer to his own grave, true, but colors are more vivid, and the ground seeming more sure to him. And I think this is also Sherwood Anderson of Winesburg, Ohio, assured and confident in his writing and artistic skills at last, and joining the greats of American literature, even joining such luminaries as fellow Ohioan President Rutherford B. Hayes, looming large in the upper right corner of the collage. Hayes (Fremont; county seat) actually hailed from the same county (Sandusky) as Sherwood (Clyde). There is also the strange story about Hayes being the first president of the United States who wasn’t actually the president. Hayes owned Mouse Island, and his Big Chimney project seems to be a cover-up for post-American activties. Hayes (apparently through remote viewing techniques) knew about Anderson, and knew that his Winesburg, Ohio was important in the coming, new era. Hayes also knew about politician George Norris, also from Clyde and also a father figure like Sherwood. In the Hayes papers (location: Fremont, Ohio), there is a folder labelled “Big Chimney”, seeming to concern Mouse Island. But I cannot speak more of that at the present moment. R. “Booger” Hayes, as he is sometimes called in this New Era landscape, knew about the Mouse Island-corndog connection as well.
Are the “sticks” protruding from the end of the giant corndog and Mouse Island alike about to trip up Anderson as he strolls a now more assured life path toward his grave? What of the presence of the Ol’ Biking Baker Bloch just beside him? Anderson seems to walk parallel to a row boat in the pool. Are they one and the same? Does the pool represent his life? (a “body” of memories) And what of Ripshin on the far side, his Virginia home for the last 15 years of his life?
Hucka D.:
The corndog is a Room 237 style mystery. Jack and the 237 woman embrace to the right. But it’s instead one of the figures from the Judgement Card of the tarot. This is a mystery of sex in part. A mystery of what is a man, what is a woman. The corndog and island are male and female genitalia — side by side. Once again we must ask what is in the room.
Collages 23, 24
Collage 25
“Bee Lee Line”
Falmouth Gallery
Sunklands 
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