LIS INTERPRETATIONS 01
(continued from Latona Interpretations/Associations 05)
We start with Lis 00, which is and isn’t the start of the Lis series, much like the situation with Gila 00 and Latona 00 before it for their respective series.
Hucka D.:
Respective? Good evening to you baker b. Nice to be starting a third series so soon.
bb:
Great to be working with you again as well, Hucka D. We may try a double shot today[ of interpretations].
Hucka D.:
I know you don’t like Lis 00 as much as the remaining collages of the series…
bb:
I suppose that’s true.
Hucka D.:
… but it interests me. It *captured* your attention, those 6 Confederacy of Diamond participants sitting in a row in Castle Combe like that. It inspired you to create a new collage even though you thought you were done with them for the winter/spring of 2013. Not so. Lis is the most consistent of the 3, actually, and probably the most meaningful. Deep. But we start with Lis 00. The Diamond rock is front and center, a kind of 7th member of this confederacy and the head of it obviously, since it is the Confederacy of Diamonds. But what is this confederacy. Is it merely a play on Confederacy of Dunces?
bb:
Well, in looking at the collage I believe the people sitting there may represent the collages of the Lis series itself, which will quickly line up in a row after Lis 00 — one interpretation.
Hucka D.:
And a good one. They are waiting for you to manifest them, one by one. And The Diamond will make an appearance as well. This is the spirit of Lisa the Vegetarian showing her strength once more. Everything centered in Arkansas for the US of A boy. TILE. And the walking man to the right is experiencing the energy of TILE as well. The 7 of Diamonds over the entrance he has strutted through is the 7 diamonds of the Confederacy. He is the seventh as The Diamond is the 7th. Arkansas.
bb:
Let’s move to Lis 01, although we may return to Lis 00. Lis 01 is all about Devizes, Hucka D., which I’ll be staying at for my first week in England this coming summer.
Hucka D.:
3 months[ to go]!
bb:
Yes. Getting very excited, especially given what happened in the Lis series. The centerpiece of the collage is St. John’s Church in Devizes, which exists very near where I’ll be staying. Devizes central area is very compact overall; you can be out in the country in a matter of minutes walking north, for example.
Hucka D.:
Oh you’ll be walking north. North east south west. And you’ll go to the old tunnel entrance, if you can get down there.
bb:
We’ll get to that in a minute[ in reviewing collages 03 and 04 of the Lis seris]. So in Lis 01 you actually have a number of Brian Marshall Roberts… dang, you got *me* saying it now Hucka D.! — Brian *Robert* Marshall’s photos combined together. There are 3 focusing on the church itself… I’ll just list them out and give links…
http://www.geograph.org.uk/photo/2387363
http://www.geograph.org.uk/photo/2387298
http://www.geograph.org.uk/photo/2386590
… then 2 of the what’s called the Millenium monument behind the church, which are combined to make a type of 4d image of the thing I suppose…
http://www.geograph.org.uk/photo/2387342
http://www.geograph.org.uk/photo/2387345
… and then one additional Devizes shot Marshall took of a pyramidal sculpture from the downtown area…
http://www.geograph.org.uk/photo/950005
A lot of photos used here, in other words.
Hucka D.:
It is the spirit of Devizes and St. John’s Church combined into one collage. 4d, as you stated, for both church and sculptures. You’ll do this again for Alton Priors in Lis 07. Same technique.
bb:
Yes. Thanks for that.
Hucka D.:
What are the bricks removed in the wall to the left telling you?
bb:
They reveal part of an oval, maybe a mirror.
Hucka D.:
A mirror. Something has been pushed off to the left. There’s only one figure in the collage, and that’s a woman admiring a grave stone to the right. But the stone has been moved from behind the wall to in front. What does the stone say, baker b.?
bb:
I think it is about The End.
Hucka D.:
Yes. This collage is so complex because we had to root you in Devizes firmly to begin Lis. You are *there*. You will be there. You are already there. There!
bb:
A tiny gift shop exists in the corner of the church next to the pyramid, perhaps frequented by toy avatars.
Hucka D.:
Reminders of Civil War battles to the left. Grape shots in the wall. Grape shots are also in crop circles.
bb:
But…
Hucka D.:
The end is covered up, first by putting a brick in the wall to obscure, and then by simply moving the whole picture to the right and pushing it off to the left. But you must remember the origins of the collage. Why did you have to cover up The End?
bb:
I didn’t want to see it.
Hucka D.:
Out of sight and out of mind. But The End serves a higher purpose, for it is the end of life itself. The grave stone to the right, still in the picture and added later, tells you this.
bb:
I really like this collage, Hucka D. It’s soothing to look at. Lots of cool stone.
Hucka D.:
3 bricks removed here… 2 to reveal what you call the edges of a mirror behind the church’s wall, and then a third to make a window for the tiny gift shop beside the pyramidal sculpture. A duplicate St. John’s exists in the background so that you can see its front better. The clock says 11:37. Revelation.
bb:
Let’s move to Lis 02, since it is of the same Devizes church but from the back now.
http://www.geograph.org.uk/photo/2387438
Again we’re combining different Devizes locations into one collage, and this time its St. John’s with a coffee shop in the downtown area called Costa [culled from a Google Streetview image]. We don’t have those over here.
Hucka D.:
That’s your Starbucks as I remember. I don’t drink coffee myself.
bb:
Interesting. Yeah, I assume I’ll be going to that coffee shop quite a bit… again not far at all from where I’ll be staying there. But it’s not *right* behind St. John’s, you see.
Hucka D.:
I see. These are places of worship combined in a place of worships. You worship coffee. Others worship other gods, including The God, the Big Man upstairs. Some even worship the other Big Man downstairs. But you mainly worship coffee, or that’s a primary worship. You should think of TILE more. But you have the woman carried over from Lis 01, and to the right again. She’s gained a partner, a male… they’re a couple. They walk side-by-side. They walk to, well they’re the same person actually, and then man then walks behind the church to the tunnel entrance where he’ll meet Meat Shake. Or meat Meet Shake. The gargoyles from St. John’s break off the church and follow him, but are thwarted in their attempt to spoil the meeting by Gary, who has come with The Diamond from Amereca all the way to Devizes just to protect his own partner.
bb:
We’re moving into the themes of Lis 03 and Lis 04, which are a diptych, so I suppose we better throw out a collage picture here…
The collage “Gargoyles Cometh” is on the left here, and is Lis 03. These are the 4 gargoyles you mention, which you stated have followed the man/woman to the tunnel entrance and are trying to spoil a meeting with Meat Shake… get to that in a moment. Let’s put up the 4 additional Brian Robert Marshall photos the gargoyles come from…
The last gargoyle (4 of 4 in Marshall’s ordering) is the only one that appears full scale in the collage, Hucka D. The images of both the 3 of 4 and 2 of 4 gargoyles are reduced to 50% — they are to the right and left. Then the one in the back is reduced to 25% of the original. That’s a drain pipe coming out of its mouth, but in the collage it makes the thing look more like a monster than it actually is.
Hucka D.:
Oh they’re monsters. Coming to get you!
bb:
Coming to get the man/woman who seeks Meat Shake, you mean.
Hucka D.:
Yes. But thanks to Gary, their efforts were twarted. Gary swings from a tree branch from the right and starts knocking them off one by one till all are dispelled. They slink, defeated, back to their church perches. Church perch. They are the 4 abberant energies of TILE. The 4th, the largest, attempts to sit on and obscure The Diamond of Frank Park you worked so hard to find this spring. He sits and laughs, waiting for the others to catch up. But then — Gary. Swings from the left. Picks them off. Gargoyles thwarted. Attack feigned off.
(continued in Lis Interpretations/Associations 02)
LIS INTERPRETATIONS 02
(continued from Lis Interpretations/Associations 01)
“We’re probably on the Meat Shake concept, Hucka D. Got a decent amount of sleep last night for a change.”
Hucka D.:
Good to snooze through the night once in a while. The Meat Shake is a combination of your Meatwad, your Shake. Shake seen already in Latona 02 (center). He will be seen again in Lis 09. This is not really your Shake here, but a combo monster, like you indicated. And there is an eye next to him.
bb:
Perhaps I better create a close up of what we’re talking about. Oh, and before I forget, I thought I’d put up the links for the Brian R. Marshall geograph photos these two collages are based upon. They’re a part of a set, just like the collages…
http://www.geograph.org.uk/photo/2388037
http://www.geograph.org.uk/photo/2388024
And here’s the detail I mentioned…
The photos are of an old railroad track called the Holt to Patney Railway. The detail above is from the front of a tunnel which runs under the Devizes Castle, although it no longer acts as a train conduit now. The second photo linked to above shows its blocked up east portal, and the eye and the “Meat Shake” I’ve been speaking above are just in front of this portal. In the collage, a man approaches them — it’s the same man on the right side of Lis 02, who has ditched the girl now and stands alone, just as the girl formerly was alone in Lis 01. As I think I talked about before, I believe the man and woman are one entity, and perhaps akin to the Lone Man/Lone Woman twinned peaks at the center of Hays County, Texas. Just thought I’d throw that in.
Hucka D.:
Hmph.
bb:
So what do you think of this “Meat Shake”, Hucka D.? The man who is the same as McCartney seems to be interested in meeting him. Then the *front* of McCarney is seen inside a pot to the right, facing the camera this time. This is culled from the front of the Sgt. Pepper cover, once more. Again beside him is Lisa the Vegetarian. Obviously these 3 figures — the blue clad man with his back to us, Paul Mac facing us, and then Lisa V. — are directly related to Latona 00 and the front and back covers of Sgt. Pepper, as well as the screen shot from the Smipson’s “Lisa the Vegetarian” episode in season 6.
https://bakerbloch.wordpress.com/2013/01/29/3759/
Hucka D.:
You’re saying that you think the man in Lis 04 with his back turned toward us, the one “meeting” Meat Shake, is McCartney again because he is similar to the Paul in Latona 00 with his back turned toward us?
bb:
Yes. Don’t you think? Seems obvious.
Hucka D.:
(pausing to look) Okay, yeah, now that I compare the two — Latana 00 and Lis 04 — I can see that you are talking correctly. Proceed.
bb:
I suppose I’m just asking: Who or what is Meat Shake?
Hucka D.:
(pausing again) It… is the opposite of the grave the woman stares at in Lis 01. It is The Beginning. Genesis. Not Revelation. How’s that?
bb:
Interesting. I also forgot to mention that I bring these mystery figures “forward” in the collage by doubling their size and positioning them in front of the originals, with the original images kept behind them, or in the background.
Hucka D.:
Cool. They are coming up to meet the McCartney with his back to us.
bb:
I should also add, if I haven’t already, that this tunnel, this portal is just behind St. John’s church in Devizes and can be easily walked to from there. So that fits into the story that it’s the same man as in Lis 02, who is the same as the woman in Lis 01 and Lis 02. That’s why the gargoyles from the church can follow them so easily as well — him, I mean.
Hucka D.:
It’s a strange [detail in the] picture. We better move on to Lis 05. Maybe that will give us the answers we need. We have TILE arising from the waters of The Crammer, still in central Devizes but in a cemetery behind another church this time northeast of St. John’s. This is St. James. 2 Brian R. Marshall photos are once more employed here and combined into one. The gravestone in the foreground is actually part of the cemetery seen in the background “across” The Crammer.
https://bakerbloch.wordpress.com/2013/03/01/4858/
bb:
Let me take over now, Hucka D. Thank you. The collage occurs in a crack in space and time, then, where front and back are the same — kind of akin to McCartney in Lis 04, don’t you think?
Hucka D.:
Could be.
bb:
From this crack in space-time arises these 4 creatures, colored the hues of TILE, or red-green-blue-yellow — monsters again like the gargoyles in Lis 03. But more organized because TILE is behind the process. And all this is a type of play on the Moonrakers mythology surrounding The Crammer, Hucka D. Let me give you the link to the Marshall photos I use now…
This is the foreground obviously…
http://www.geograph.org.uk/photo/382881
And this is the background…
http://www.geograph.org.uk/photo/382855
Marshall provides a link for the Moonrakers story in his caption for the second:
http://www.wiltshiretouristguide.com/Articles/Article_27.asp
In this same way, I am kind of “raking” the alchemical image of the moon in to the shore of The Crammer. I say raking here because it is a gradual process, starting from the grave stone. 6 stages are involved before the moon touches the land. Hence the title of the collage: “Moon Landing”. And inside the last moon image, when it touches the land, is the yellow monster of TILE. These “monsters” come from a Noel Fielding’s Luxery Comedy animation called The Jelly Fox, which both Edna and I found hilarious. I was also instantly struck by the fact that the involved monsters were colored the 4 colors of TILE.
Hucka D.:
Let me stop you here if I may. (pause) Could this new series of 4 monsters be the same as the gargoyles just left behind in [Lis 03 04]?
bb:
I think they’re a progression beyond them, because this is TILE.
Hucka D.:
You are playing on Devizes mythology here, which is interesting for sure. You succeed in this collage where the original Moonrakers couldn’t. You are *actually* raking the moon, which may be cheese and maybe not, into land.
bb:
Interesting as well that Noel Fielding rather famous plays The Moon itself in The Mighty Boosh. And Fielding plays *all* 4 creatures that are colored TILE in the Jelly Fox, and make a reappearance or are reincarnated [in Lis 05]. All of these creations are Fielding.
(continued in Lis Interpretations/Associations 03)
LIS INTERPRETATIONS 03
(continued from Lis Interpretations/Associations 02)
“I think it is a basic mistrust of all-things-town, Hucka D. The 4 characters of TILE arise from The Crammer, or between the two parts of The Crammer which are actually one part, because of the pull of The Country. The 4 gargoyles, kind of parallel monsters here, are The Town, and reach a dead end at the east portal of that old railway tunnel running underneath Devizes Castle, or what passes for a castle now.
Hucka D.:
Perhaps the gargoyles were attempting to restore the old castle, and add to its decor. Stone [attracts] stone, after all.
bb:
Never heard of that. But at any rate we can move to Lis 06, called “Hugs All ‘Round”, I believe. (checking) No, it’s “Rock’n Home”. We have the reappearance of Spongebob Squarepants in Gilatona-Lis, and this time with his best pal Patrick Star. Sbsp appears first in Latona 01, peering out of the opened front door of his pineapple home, speaking of homes. And I suppose here in the newer collage we have a nod to Patrick’s rock home now, which appears in front of him… But the rock is actually from The Barge in Honeystreet, very near Alton Priors which we will be speaking of in a moment. It’s from a picture of this rock I found online, which strangely and queerly depicts the same crop circle I’ve already used several times in Gilatona-Lis collages, originally in Gila 05 but also in Latona 05. This despite it not being a very famous crop circle, Hucka D.
Hucka D.:
*We* put the rock there. [The] Lis [collages] are very tight. You would see the rock, or the picture of the rock from The Barge, and immediately know you had to use it in a new collage. This then becomes Patrick Star’s rock house or home as well, since you made that association beforehand.
bb:
Here’s the post you’re talking about.. oh, it’s already there (!):
https://bakerbloch.wordpress.com/2013/03/03/more-wiltshire-shots/
And then here’s the Marshall photo I use as the base for Lis 07.
http://www.geograph.org.uk/photo/1744705
This is taken several miles east of Devizes, not too far into the country, then. The distinct hill in the distance is Woodborough Hill, which was the site of not one but several of those sunfish related crop circles from 2012. Including the one depicted in part at the bottom of Latona 00, returning to that collage once more.
Hucka D.:
Cool. There’s Lisa the Vegetarian in the new one [Lis 06] as well. She appears to be hugging one of the gargoyles from the statue. As Marshall himself pointed out, this is Bart Simpson, 12th Century style. But the spirit of the gargoyle or monster is trapped in that gravestone transported from The Crammer location, or the location of [Lis 05]. You must hug and love the gargoyles within yourself, baker b., in order to be free of them. You move out into The Country to do this. The Town cannot give you what you need. You search elsewhere — country.
bb:
Like we’ve moved the progression of the Lis series from Devizes — town — out into the countryside, specifically the area around Alton Priors and The Barge itself and the famed Alton Barnes white horse, and so on. Most sacred spot. Here we also have at least one of the 4 TILE monsters or creatures from Lis 05 returning just below Patrick’s crop circle adorned rock. This would be the little yellow fellow again, called McCoy in The Jelly Fox episode of Noel Fielding’s Luxery Comedy show.
Hucka D.:
He’s the one with diabetes (smiles).
bb:
Yeah, but it’s no laughing matter. Perhaps not even a smiling matter. (Hucka D.’s smile is erased.)
Hucka D.:
But…
bb:
But he represents The Sun, the counterpart to The Moon. He’s within The Moon, just as in Latona 02 you have The Sun being swallowed, seemingly, by The Moon. And Fielding himself is swallowed into The Moon when he plays that particular character in The Mighty Boosh. There’s a scene in the first episode of his Luxery Comedy where he reappears in this rather famous role, only to state he’s not in this show. Quite funny.
Hucka D.:
Can I smile again, then?
bb:
Sure. (Hucka D.’s smile returns.)
—–
“In looking again at Latona 00, I feel that all three “stones” we’re talking about here, the one Lisa is sitting on in Latona 00 and then the two (grave stone and rock with crop circle) are one and the same. And all 3 stones are in fact The Diamond from Lis 00. It represents knowledge… Arkansas knowledge. I revisited The Diamond at Metril yesterday, Hucka D.”
Hucka D.:
Great. Singing frogs. Fantastic. They were chatting about how f—ing cold they were, and why did they have to be hatched so early? You’d be doing the same… in fact you were… in your head.
bb:
Returning to Lis 06, obviously the two rocks or stones are associated. According to the turns of The Moon in the foreground, representing its 4 phases seemingly, we have the downward turned moon associated with yellow and the rock from The Barge, and then the upward turned or “horned” moon associated with the grave stone carried over from Lis 05, the one with the Bart spirit within.
Hucka D.:
Bart The Gargoyle. Hugged by Lisa the Vegetarian. Did you know in the early days of The Simpsons, Lisa was seen more as a female Bart. Only later in the series did she acquire her own unique character. Lisa the Vegetarian [season 6 episode] is an important landmark in this progression to individuality. She exists separate from Bart, able to stand apart from him. But love him and his gargoylian ways still. The Simpson males have a degenerative gene that carries over from generation to generation. The female Simpsons are not so cursed.
bb:
Yeah, I read something about that[ not surprisingly]. So Lisa here is loving or hugging somewhere that she had come from, but now stands apart from. A brother to her instead of she herself. As the gravestone is from The Crammer, and is where The Moon originates from in Lis 05…
Hucka D.:
The rotating Moon, actually one Moon, has absorbed the colored energy of the 4 Crammer monsters and trapped it within a 4-part mandala that are called its phases. These are yellow — full moon — blue — new moon — green and red and the half moons, then. The progress of The Moon across the landscape of Lis 06, which would be atop Alton Priors, even, hidden just below the line of trees beneath Woodborough Hill…
bb:
Yes.
Hucka D.:
… Well, I lost my train of thought. Train?
bb:
Thank you for that interpretation. Anything else about Lis 06? We are out in the country, specifically Alton Priors and Alton Barnes and Honeystreet, which are all connected anyway, and away from Devizes. But still close to the latter. We are approaching *home*. We are approaching The End.
Hucka D.:
The grave stone has an eye. It is peering toward The Rock that is the same as itself. The rock does not progress beyond itself. Lisa the Vegetarian has. She has learned to love. She is heart.
(continue to Lis Interpretations/Associations 04)
LIS INTERPRETATIONS 04
(continued from Lis Interpretations/Associations 03)
So we’re going to make a stab at Lis Interpretations/Associations 04. Since writing Lis I/A 03 the whole Falmouth series has unfolded suddenly. Excitement! But more to interpret, and because of the complexity of the 4 part series which acts as one whole going around in a circle, I have decided to go ahead and attempt to analyze that at the same time. So returning to Lis, and I assume Hucka D. is around this morning to help me, we have a late addition to Lis 05 that he didn’t approve of first, as I understand, but likes more now in light of Falmouth. So… this is Andrew Wythe’s Christina, from the painting of the same name. Hucka?
Christina is the same as both the man and the woman extending through Lis 01 Lis 02, and Lis 03 04, 04 to be specific. But it acts as a diptych so it’s really the first 3 pictures of the Lis series this figure appears in. And then she returns here, but in a slightly different form. In Lis 01, she is the woman, lone woman by herself, like the mountain in the center of Hayes County, Texas.* In Lis 02 she is paired with a man, making a Lone Woman and a Lone Man. In Lis 03 04, the man is without the woman — Lone Man. Can you find a picture of a map of this county quickly enough, baker b.?
baker b. (after a pause): I had to reload it.
Hucka D.:
Cool. That’s Hays County — sorry. The only Hayes County is in Nebraska and has basically no one in it. That was used in Latona 06 I believe — Hayes Center, the county seat. But it’s Hays we’re now shifting our attention to, and it’s really about [President] Hayes, once more. Shifted. So to return to Lone Man/Lone Woman, we have the man then approaching what we know is a mock up of Cygnus X-1 and its sun and black hole relationship. That’s new information. The man approaches — he is meeting Meat Shake, which is the same. It’s two things that shouldn’t belong together. Black Holes shouldn’t exist. We talked about black holes in the other important Avebury collage, or Latona 03 04. The Red Lion woman watched it form and become perfected — a perfect circle like a perfect ring — on the top of the Red Lion pub before fully manifesting between the 2 prominent Avebury rocks to its right in that diptych. Another diptych, then, like Lis 03 04, and with the same 2 numbers (03 04 of each series). Already we could illuminate this further by discussion of Falmouth, it has become so central. The rock in-between the 2 rocks the red clad being is seemingly stealing in Falmouth 03 is the same size as the circle of meditators atop the Red Lion pub in Falmouth 01. We have gone quite far, baker b. Good work once more. I lost my bet.
bb:
Thanks. Not to get away from Lis 05 too far, but I’m wondering if the vacant corner of Falmouth will be filled with something. Already I’m seeing Harrison’s hand in place of Hayes, and maybe his head in place of Hayes. But what would that mean?
Hucka D.:
We better stick to Lis 05. So here we have the Christina addition, which will become more understandable in Falmouth, once more. There it points to an alternate Falmouth where siginificant elements of Max Ernst’s “The Robing of the Bride” were/are/will be used, including the blue-green gargoyle with the spear, and als the prominent red plumage of the central “bride”, as it were. But in the Falmouth you decided to create, you substituted Ernst with the sweeter, much sweeter Man/Woman of 12 Oz Mouse, who instead pats the should of the central Red Lion woman, instead of trying to stab her, you see. Her hand becomes central. But once more we have wandered back to Falmouth.
bb:
The swan of Lis 05 — returning to that — has also been more recently altered to include an eye. And this is the same eye from the central figure of Lis 04, the preceding collage. This is the black hole of Cygnus X-1.
Hucka D.:
Yes. Most definitely yes.
bb:
The… you go ahead.
Hucka D.:
The swan swims on the line between two geograph squares, which are all 1 kilometer square. This is SU016 and SU116. The Crammer, the central pond of Lis 05, is on the line between the two. As the collage combines two Crammer locations into one to make the pond non-dimensional, one can say that it too has collapsed into a black hole. The Crammer is the black hole. The moon is trapped inside the water but cannot be raked out because it really doesn’t exist in our dimension. That’s the true story behind Devizes’ Moonrakers myth. It is that this lake, this pond, has become a black hole. In your collage — Lis 05, you did rake the moon out of the pond, but only by combining it with the sun, the little yellow fellow in the front. The moon touches the shore — Moon Landing. Yellow being manifests inside. This is pulling out of the black hole by the sun of Cygnus X-1. Matter has reversed out of the black hole and back into the sun. The yellow figure, who is McCoy in the Jelly Fox seeking group, is the same as the Meat Shake of Lis 04. Or the meat part anyways. And with this yellow guy, McCoy, comes the other parts of TILE that he is always attached to. They manifest at all the same time. This is the gargoyles as well of Lis 03, but their positive side, their future side if you may. If I may. They all drink from the TILE cup, which is Shake as well of course, as we’ll see illustrated in Lis 09 coming up. This group although they originate in Devizes and The Crammer, point to The Country beyond The Town for ultimate answers about Lis. They point to Alton Priors and Alton Barnes and Honeystreet and Falmouth beyond.
bb:
Let’s then get back to Lis 06. I won’t put up the picture again, but this is out in The Country now. We look over the top of Alton Barnes and Alton Priors toward Woodborough Hill, Hucka D., the site of the sunfish crop circles early in last years season, and already used in a number of Gilatona-Lis collages, most openly in Latona 00. In The Country… you go ahead again… sorry…
Hucka D.:
In The Country, the 4 part nature of TILE is more fully revealed as a rotating wheel that first appears as The Sun within The Moon in Lis 05. Here it begins as the same underneath or attached to the Rockley rock with the Rockley crop circle picture etched or engraved on its surface. This sculpture, last time we checked, still exists in The Barge at Honeystreet. It will prominently reappear in Falmouth, but let’s not go there again quite yet. The story behind this rock is that it’s symbolically Patrick Star’s rock of the Spongebob Squarepants Show, a favorite of your family as I understand.
bb:
We watch it all during Christmas, yeah. (laughs)
Hucka D.:
Truthfully it’s the silliness they don’t like, and the show, up front, states if you don’t enjoy nautical nonsense then it may not be to your liking.
bb:
But back to Lis 06, it’s Patrick’s rock, his home, and we know this from the star crop circle that appeared on top of Furze Hill in 2007, followed by a square shaped crop circle in the next field over in 2009 indicated his main bud Spongebob Squarepants, shaped like a square. I think we’ve already talked about those circles, along with the one that appeared at the bottom of Furze Hill — is it Knoll or Hill? — that also obviously indicted Patrick’s rock home, 3d style.
Hucka D.:
It’s Furze Knoll, I believe.
bb:
So this is Furze Knoll crop circles, then, imported to a location several miles southwest, where we look toward Woodborough Hill over the top of The Altons. Oh, I just thought of something — Latona is an anagram of Alton (!)
Hucka D.:
The 4 prime energies of TILE, let loose in The Country, are now rolling around in freedom. They are motoring. They quickly get on the highway for further adventures. They head to The Altons. Should we end? I think we should.
(continued in Lis Interpretations/Associations 05)
LIS INTERPRETATIONS 05
(continued from Lis Interpretations/Associations 04)
https://bakerbloch.wordpress.com/2013/03/04/alton-priors-alchemy-00/
“I think it’s going to be a wet and cold Spring. Already has been.”
“Lis 09… oh yes, a wet spring. Sorry. Thought you were ready to start.”
bb:
Now I am. What do you think of Falmouth Creek?
Hucka D.:
Your new Con Creek.
—–
bb:
So Hucka D., this was the weirdest collage yet up to this point. This and Lis 09 and maybe the Falmouth series as a whole. We have a background scene that comes not from a Brian R. Marshall photo this time, as have so many in Lis until now, but from a source we’ll leave unnamed for now.
Hucka D.:
Good idea. But it was the best source of pictures for the Alton Priors church, inside and out. Brian Roberts has not visited this church apparently, or hasn’t taken pictures.
bb:
I’ll let him know about that. And it’s Brian R. Marshall, once more.
—–
bb:
So we’re back 24 hours later. I (interruption)… this is a crucial collage, Hucka D. This is or *isn’t* my future roomie, in effect. Certainly there’s some psychic connection going on. But the basic gist of Lis 07 is a smaller picture that slots *perfectly* into a larger picture. And this is the collage that convinced me that I should go to Wilshire in the first place. And *every* time I start to write about it something *happens.*
Hucka D.:
*I* can talk about it. Hello and good morning baker b. Hope you’re feeling better soon.
bb:
Everything is irritating me today. I have a decision to make, a crucial one that involves me controlling an environment totally foreign to me. It’s like preparing for a *moon shot*.
Hucka D.:
What about a 3rd option? You go now. You just do what you can with what you have. You gather information. You get wet if needed. You make it to the second week. You hike Savernake Forest, which is where we really want you to get to, and then you will utterly know that you have to return. Then you can wait for 6 years.
bb:
It somehow hinges on this collage, Hucka D. Lis 07.
Hucka D.:
Why don’t you skip it and move to Lis 08. Here we return to Avebury, which you know now even more than ever is the center, the balance between all opposites. It’s really the navel of the entire world. But of course it’s broken as well. Perfect in past/present/future but broken in broken present. We have forgotten what it is. The crop circles, well, circle around it in all their glory and benignship. They are attempting to indicate what it actually is. Look at Falmouth again and what do you have? The answers to All Things. It’s not in Alton Priors that you’ll find ultimate answers but Avebury, but a currently hidden, perfect version. Maybe [delete name] can help you see that (Hucka D. points to the appropriate figure in the picture here). In Lis 08, we have the Jelly Fox crew in a field examining a crop circle. In a mirrored version of themselves, they look over and only see a huge mouth with eyes. That is their true creator. The creator wears them on his figures and speaks for them. But they have forgotten this and think they are independent. It’s both, actually. So that’s Noel Fielding in the distance, his mouth and eyes. And he *plays* with the Jelly Fox crew and makes them think they are independent from him. This is sort of like us and our God. Our British God, hehe. So here’s more Avebury conundrums to deal with. All Answers but All Hidden. You have to think like an *alchemist*. You have to admit your androgynous nature. We are all men and women through time.
https://bakerbloch.wordpress.com/2013/03/05/crop-circle-seekers/
Lis 08: “Cereal Characters”
You see, they *have* to face the face or they do not exist. They are like the light side of the moon, with no darkness because that means they do not exist. But they *do* have a dark side, an independent side. They are the moon and sun together. They are the 4 aspects of self. They are TILE. That’s what you saw when you viewed the Jelly Fox for the first time. You saw TILE. High low medium go. Isn’t that the name of a rock band as well?
bb:
I need to hike. I’m not having a good day. It’s cold. I’m spoiled by last year. I created the Frank and Herman, Einstein! blog to chronicle my explorations and musings about those parks. I can’t out into them. They have aliens in them as well now, probably benign aliens but it’s rather scary.
Hucka D.:
That was leading you to England. You can just stay here with the aliens and all on your Bill Mountain and not have explanations.
bb:
Okay so back to TILE… I’m trying to concentrate.
—–
bb:
I think I’ve driven… well, lost my train of thought.
—–
Hucka D.:
It is a huge power, this Avebury center. Can cause peace but also derision. 80 percent of all crop circles are forgeries. Perhaps true in its own way, but what of the *rest*? Isn’t this what everyone should be focused on? Set aside differences and focus on the truth behind the truth[ that there is a certain percentage of crop circles that obviously aren’t faked by human hands].
—–
Hucka D.:
Why do crop circles often *point* toward white horses such as Alton Barnes’ in Lis 08? Answer me that, baker b. Answer me that crop circle deriders. They are trying so hard to communicate in the ways they are permitted, or have permitted themselves. What is Avebury? That’s the question. What is Avebury??
bb:
The Red Lion *should* be the center for crop circledom. Yet The Barge has been installed in that role, safely tucked away in the countryside.
bb:
In Falmouth 02 now, the very bottom of the opened triangle in the Rockley rock shows the green top of the distant trees, just a bit. In Gila 05, the same triangle from an actual picture of the crop circle is entirely green. Little things, Hucka D., but hints all the same to perhaps be paid attention to. Bart Smipson is Amereca, who takes his sister’s arm instead of returning a hug. Lisa The Vegetarian is Britain beyond Bart, all grown up and mature and not like the Smipson males. She is Future Bart. Hayes in the background, with his own stolen arm, and perhaps *the same* stolen arm, is Amereca himself, who does such things to, for example, The Mighty Boosh which can air only on late night tv over here because of its truth, and also in truncated form. It has lost an arm in the translation as well. This is about that.
Hucka D.:
Don’t you think one of the newest additions to Falmouth, in Falmouth 04, is about the 4th and beyond iterations of the Koch crop circle? It is representative of a crop circle itself through the Furze Hill one showing a dimensional aspect — you’ve already connected that to Patrick Star’s rock home, eh?
http://www.timstouse.com/CropCircles/humancomponent.htm
bb:
I would suppose it has to be.
Hucka D.:
It is the 4th level, and beyond. You have given up on Tin S. Man from your Kanada by introducing or telling him about your 4th level, inviting him to participate. Can he? No. He’s locked in to the *1st* level, which is the same as the 4th level true, but he hadn’t gone around the big circle like you to get back to it. He has never stepped beyond his *comfort zone*. He has not created a Frank and Herman, Einstein! blog. But without his limitations, without something to push off of, you may have never started the blog in the first place. You react to things in that way. You pushed off of the whole Golden Age of Synching in the same manner, even though that was level 2 collectively. And those that went into the fringes of level 3 at least, you reacted most harshly of all, because *they* thought they were doing something totally unique. This is the opinion of your Dave from the podcasts, the one that has recently created a great number of eye collages, and is also a huge Rush fan. You know what that is in connection with your own art, and the whole Cygnus X-1 [delete word]. Black hole, I meant to say there.
bb:
I think level 4 is in the black hole, Hucka D. I have a good number of things beginning to line up with that idea. (pause) So Falmouth 04 is about the elusive 4th level — Shark, a blue fish, is retreating back into the suit of R. Booger Hayes of the US of A leadership role. Lisa the Vegetarian now appears separate from Bart the Controller, the Ignorant. Baker Bloch is in his true role as a chichen attempting to cross the road. This is the Big Pond, not really Amy Pond but not really not her as well. The red haired being.
(continued in Lis Interpretations/Associations 06)
LIS INTERPRETATIONS 06
(continued from Lis Interpretations/Associations 05)
So Hucka D, we really must finish up interpretations/associations of the Lis collage series. The series has been completed for maybe almost 2 weeks now. We’ve covered Lis 08 fairly well, which is about a creator and the bringing to life of his creations, at least in a partial way. Lis 08 has the 4 figures who seek the jelly fox in Noel Fielding’s Luxury Comedy in the foreground, and then Noel himself in the background with his eyes and his mouth. We know that the characters are actually finger puppets from the episode.
But we must move to Lis 09, which is the last collage of the series and what everything was seemingly leading up to. The setting is All Saints Church of Alton Priors once more, as it is in Lis 07, a definite companion piece. We switch away to Avebury for Lis 08 briefly, but are back in The Altons for 09. But because 08 is set in Avebury, now we have all 4 series of Gilatona-lis set in that village, Hucka D.
Hucka D.:
A center, as stated. In Lis 09, something arises from the tomb. Not Mr. Button, although he certainly did rise in his own way as well. It’s Chrissie from the Jelly Fox crew once more, who we see front-on in Lis 05, and then with his back to us in Lis 09. He’s the red one, yes. In Lis 09, we recognize him by his eye, only one eye true, but distinct because of the red outline still present. Yes, this is Chrissie. Little Chrissie I think he’s called.
https://bakerbloch.wordpress.com/2013/03/06/just/
Then we have 2 more identifiable Jelly Fox characters in this collage, or the smoothly green Spoon Snake to the lower left, and then the yellow, angular McCoy center right. McCoys is obviously an alchemical sun figure here — he overlaps a picture of the sun on the brass plaque within the church dedicated to Mr. Button. Shiny like a shiny button it is. Shine on. We must assume that Button symbolically is telepathic and shines, like the term used in The Shining movie.
bb:
Yes.
Hucka D.:
This gift probably goes along with him risen from the grave here. But yet there’s another seeming grave in the picture, but it’s really a trap door — one of the two that still exists in the church. Both contain sarsen stones. One of these stones has a prominent eye, which this article — if you will provide me a link — states could have been a peephole into a barrow burial chamber. Others claim that the church itself might have be erected in a now long gone ancient circle of stones, a miniature Avebury even. There is scant information about all this, however. We mainly have to turn to this collage for answers. Does it give us any? Well… McCoy still drinks from the multicolored drink, as he did in Lis 06. However, we know this is also a *shake*, specifically Master Shake, providing a cool white exterior as well, and also a single straw. McCoy then drinks from this single straw — all the others have gone away or at least do not drink from this drink any longer — the ones present in Lis 06. True, the green Spoon Shake still has a straw in the lower left part of the picture, and appears to be drinking. But his straw is not attached to the central shake drink — only McCoy’s straw truly is, and only he drinks of its wisdom.
bb:
The shake/drink is TILE.
Hucka D.:
Yes it is. The 4 colors of TILE, encompassed or circled round by a cool white cup now. We see the cup as if invisible, with the drink inside but still protected all ’round. This is like the Visible I. of Falmouth Creek, then.
bb:
Hmmm.
Hucka D.:
The motif of the straw is mysteriously echoed in the design on the [left] gate of Heaven where McCoy is found, but if you look closely, only in the back part. The rest of the design closer to our view in the perspective, resolves to circles within two lines. So the straw is suppose to be there, and is indeed as much a part of the plaque as anything else now. This would also be true of the moon outline image also carried over from Lis 05, like McCoy’s straw and McCoy himself (herself?). This outline moon, with dimensions unaltered, fit exactly on top of the moon on the plaque at this point. They are a perfect fit, mirroring the perfect fit of smaller picture into larger, overall picture of Lis 07, see?
bb:
Yes.
Hucka D.:
So this moon is definitely suppose to be there, along with the straw — along with McCoy. Now so McCoy must be drinking from something with his straw, so the drink must be there as well, and it has to be a combination of the white Master Shake along with the drink from Lis 05.
bb:
Here’s the original photo I used as the basis for this collage, Hucka D. It comes from this site…
http://roy25booth.blogspot.com/2010/09/shining-button.html
The first thing I altered about the base photo is adding the moon outline you mentioned, found in Lis 05 but also Lis 07. Now when I put that moon image onto the plaque in Lis 07, I knew the images were very similar, but I didn’t know that the size would be the same as the moon in this photo. So I definitely had my door into the collage [Lis 09]. And then McCoy’s face added to the sun’s or juxtaposed on top of it, was the quick and logical next step, since McCoy and this outline moon had already been combined in Lis 06.
Hucka D.:
Yes. My turn now?
bb:
Yes.
Hucka D.:
Then you had to figure what other of the Jelly Fox crew would fit into the collage. There was a green stain on the left side that reminded you of the green Spoon Snake and also its shape. So there was another addition. This stain is probably an oxidation reaction of the plaque’s brass surface. Perhaps where someone touched or brushed it with a finger. But you were just moving through the collage process at this point, spotting natural associations. So then you knew Little Chrissie, the talkative red entity of the group, had to be the same as the central figure of the plaque, this mysterious and shiny Mr. Button.
bb:
Yes.
Hucka D.:
So you tried both eyes in the back of his head at first, but then settled on just one, and directly overlapping the one eye we see of Mr Button’s from this angle in the plaque.
bb:
Yes.
Hucka D.:
So you had 3 of the 4 TILE characters of Lis 05 — the taller blue being, the one that just hums those 2 notes over and over when prompted…
bb:
Yes.
Hucka D.:
… he had to fit into the gap between the others, which is in the general area where the trap door was ultimately slotted in. Now like I said, this trap door is also found in the church — one of two, actually — but obviously it’s not in the plaque itself. But it looks natural there, no?
bb:
No. I mean, yes.
Hucka D.:
You knew the blue being had to fit in there, but didn’t know how just yet. So you focused on getting the straw to McCoy’s mouth again, and then inserting the drink over top of the top of the key [key head] in the plaque. Then when you seemingly got this right, you returned to the blue figure, and decided only to add his *eye* and inside that trap door. This is the same as the eye in the sarsen stone underneath one of the two trap doors. The blue being’s eye — does he have a name in the cartoon? — anyway, his eye becomes the same as the sarsen stone eye, see?
bb:
Yeah. I see.
Hucka D.:
Is this the other eye of the being who is arising from the tomb front and center? Then the last element added to the collage is the swallow figure, which is also an element of a significant crop circle that formed in one of the fields around Alton Priors and thus very close to this church. And this particular crop circle swallowed, as it were, a couple who were investigating the phenomenon one night. They met a UFO head to head in the fields. The UFO meant them no harm, but it had a job to do nonetheless. The couple and the UFO had made a prior agreement to engage each other. The woman has had added benefits afterwards. But in the short run they were scared. They had made close encounters contact. They were swallowed up into not victory — short run again — but fear. Like one of their eyes had been removed and they couldn’t gain a 3d perspective of the situation any longer. They ran. So that’s the meaning of the swallow in the collage.
bb:
Yes. Here’s the related article. Very interesting, and came up in a google search for this church, I believe.
Hucka D.:
And that’s about all there is to this collage. A very clean one, like Lis 07. We have moved beyond your Brian Marshall R. into something even deeper that he shied away from. Not shined away from. But this is a very clean, very shiny collage. The central figure then moves directly into Falmouth 01. We can move into an interpretation of that collage as well now, a fuller interpretation. For Falmouth 01 is the most important collage of Gilatona-Lis as a whole. We are dealing directly with the resurrected being and what he altered in the Avebury and surrounding landscape as a shiner.
(continued in Falmouth Interpretations/Associations 01)
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