Sunklands

(continued from Lis Interpretations/Associations 06)

“So we’re skipping over Lis 07 and 09 once more, Hucka D., and leaping into Falmouth for real this time, using information already created in earlier posts and adding onto them. Falmouth I believe is done now — collages fixed. But it’s actually one giant collage of 4 parts that go in a circle. Like the Gilatona-Lis diptychs and triptych before it, each panel functions both on its own as a separate work of art, and also as part of the whole, 4 parts in 1 in this case. Let’s start with 04.”

Hucka D.:

Let’s do.

Falmouth 04 gives us Baker Bloch or perhaps Baker Bloch’s *father* (who is Space Ghost of Space Ghost Coast to Coast fame) with additional chicken legs. In real life, baker b. is afraid to cross the Big Pond and go to Britain to stay with the figure seen in Lis 07. That’s why he is also afraid to create an interpretation of Lis 07 — backs out each time. Including this time, since you skipped over it once more.

bb:

Hucka D….

Hucka D.: (putting his hand up)

Hold on. Baker Bloch is tethered to the other side of the road where President R. Booger Hayes is positioned on a white car to one side of a building, like he is in waiting. The tethered line extends from him, as it does with the Dr. Who figure of Latona 08. Let’s look at that picture, then. Let’s look at a lot of collages today and tomorrow. Let’s look.

https://bakerbloch.wordpress.com/2013/02/21/latona-08/

President or Non-President R. Booger Hayes represents your US of A, which you are tethered to as a *space*man, after all, on a moon shot as you recently put it, I believe. This is your space walk. You are a chicken trying to cross the road, the pond. Amy Pond the red haired woman is in the first picture and she is also a pond or ocean. But she is also beyond the pond or ocean. She is Avebury itself, the collages of Falmouth itself if you will, as it were. The Red Lion at the center of Avebury at the center of Wiltshire and the center of, well, the Earth itself. You can hide under a rock like Patrick Star and stay *home*; you can gallop backwards in the sky like a wrongly turned White Horse — or you can cross the road. You have chicken legs but these are also *chichen* legs, like Chichen Iza, the pyramid dedicated to the great Mayan teacher Red Collie, sorry, Quetzalcoatl. *He* has given you these legs so you can get across The Pond. The Pond can *swallow* you up like a black hole, like Dr. Who in Latona 03 between the Avebury rocks. This would probably be your plane experience, plainly enough. So Baker Bloch is constricted by a line coming from President Hayes, but also another part of the triangle. Also in Falmouth 04 we have Lisa the Vegetarian hugging a ghost Bart maybe trapped in a brick wall. This is saying goodbye to fears and traps in general and heading across The Pond. The blue sunfish coming out of Hayes’ suit has the same basic meaning as in Latona 08. Let me see…

https://bakerbloch.wordpress.com/2013/02/22/maps/

You interpreted that as “open passage to England and Marlborough” closer to the time of its composition. The sunfish, you claim, is also a ship, probably a plane then in this case. There are some other interesting overlaps between Latona 08 and Falmouth 04, as I’m looking at it through your eyes. Thank you. Lisa the Vegetarian, hugging ghost Bart in Falmouth 04, is directly overlapped picture-wise with Selma in Latona 08 offering enticing cigarette smoke to the spaceman there who is Dr. Who. And it’s this same Selma who gives or lends her arm to the same President/Non-President Hayes in Falmouth 02. There *Hayes* is smoking the cigarette Selma’s arm holds. He has somehow attached Selma’s arm and uses it as his own. In the foreground of Falmouth 02, Bart, now not a ghost atall but just as real as sister Lisa V. in Falmouth 04, still holds her arm, as if he has disattached it from his sister in Falmouth 04 somehow — once more a “somehow” here. Before leaving Falmouth 04, let’s look at Patrick Star and his rock house with eyes underneath, which I believe represent crop circle grapeshot, specifically what Glickwoman calls the 4th iteration of a Koch *star*, after all. This is Falmouth 04. This is the 4th iteration. Patrick’s home is the Koch crop circle as a whole, like already seen in a crop circle below Furze Hill to the southwest of Avebury, according to this former blog post. Can you help me here baker?

bb:

Yes.

Hucka D.:

Oh and I should add here quickly that the corndog in Latona 08 is also representative of The Arm, as we’ll begin to call it. This becomes clear when we arrive at Falmouth 03. Do you have the link yet?

bb:

Not yet. Hold on sir.

https://bakerbloch.wordpress.com/2013/03/03/more-wiltshire-shots/

Hucka D.:

Yes thank you. So we know from the comparison of Patrick Star’s home and the two accompanying homes in his underwater neighborhood [those of Spongebob Squarepants and, in the center Squidward’s], and the similarly 3 part Morgan’s Hill crop circle from 2011, that Patrick’s rock home in Falmouth 04 directly represents *laid crops* of a crop circle. As it more importantly refers to the Koch star, it is also prime to note that at the time of its formation in 1997 this Silbury Hill circle [ Koch star] had the largest area of laid crop seen up to that time. And it is very important to understand that it was on this very hill [Morgan’s Hill] that a more traditional star shaped crop circle appeared in 2007. It is from Morgan’s Hill and only Morgan’s Hill that the 3d crop circle can be seen in correct perspective. If we climb Morgan’s Hill at the place where the star formation appeared and look down in 2011 when this other circle was there, we are the same as Patrick Star looking at his home and neighborhood in Bikini Bottom — remembered the place he lived. And then we have an even more prominent *square* shaped crop circle appearing in the fields next to Morgan Hill in 2009 to reinforce all this. The meaning is clear — Patrick Star points to the Koch star and also the Falmouth collage series.

bb:

Yes.

Hucka D.:

So the appearance of Patrick’s Star’s home in Falmouth 04 is the same as the appearance of the Koch Star crop formation near Silbury Hill in 1997. All the later Morgan’s Hill formations — the star, the square, the 3d thingie — point to this earlier circle. The rock part is the laid down crops of the Koch circle. The *eyes* underneath the rock are the grape shot. The laid crops, laid as triangles, are the *rock* — let’s pull up a picture of the Silbury Hill formation, one of the most important of 1997. Give credit where credit is due. As always, the pictures from the Frank and Herman Einstein Blog are used for educational and explanatory purposes only. This is the only way I can get my points across — to use these pictures. So baker if you will again…

bb:

Sure.

http://www.timstouse.com/CropCircles/humancomponent.htm

Hucka D.:

The laid down crops are all continuous and part of the 3 iterations of the Koch snowflake or star or fractal. The *4th* iteration is not directly shown through triangles, but substituted with *circles* — grape shots as they’re popularly called in cerealogical circles — just as circles line the bottom of Patrick Star’s home in Falmouth 04. The point or one of the points is that they’re separate from the main mass of laid down crops in this formation. Yet you were not conscious of this association when inserting Patrick’s home in Falmouth 04. And then take a look at his ice cream cone — I believe it’s the same as the miniature blue sunfish which appears to *bite* the left hand of the Dr. Who figure of Latona 09, the one who appears to be falling into a mysterious black hole. Can you guess what this is?

bb:

Then the eyeballs are also like the circle of meditators in the picture of above, in the middle of the laid crops. What was your question? Oh I see it. Well, the blue sunfish biting or attached to Dr. Who’s hand in Latona 09 would represent, once again, fear of travel.

Hucka D.:

In Falmouth 03…

… thank you — we have the *3rd* iteration of this very same Koch star formation present on the roof of the central house of the collage. This is 03, as the 4th iteration of same is [in Falmouth] 04. Thank you again. (pause) The shark in the foreground is the same as President R. Booger Hayes — he has a sign “Prez” in front of him. He is the same color as the sunfish coming from Hayes’ suit in Falmouth 04. The sunfish is pointed in the direction of shark. The sunfish is the shark. This is Hayes acting as *president* — President of these here/there United States. Can a sunfish cross the Great Pond? No. A sunfish remains in the comfort zone of the US of A, unable to cross the road or the pond. You are The Mouse here, baker b. You talk to Shark, or at least he talks to you. He tells you of the 3rd iteration. Without the understanding of the 4th, however, you do not know what he’s talking about really. He discusses a Clock which can freeze time. There are twelve triangles invovled in the 3rd iteration, just like there are 12 hours to a clock face. A clock projects from the top of Shark’s talk bubble to emphasize the relationship between clock and hours and the 12 triangles. In the middle of the triangles is an arm. It’s Selma’s again, but combined with the shape of a corndog. In 12 Oz Mouse, Shark is actually explaining to Mouse that he does *not* like corndogs, he hates them in fact. The corndog/arm in the middle of the 12 [3rd iteration] triangles seems to act as a clock hand. It points to “1” but more importantly it points to the clock which has 2:22 on it. All of 12 Oz Mouse takes place in this frozen segment of time — a single minute. Mouse is also in a virtual reality in this frozen segment, along with Shark. The corndog points the way out. The arm points the way out. We have already discussed the association between this house with the triangles on it in Falmouth 03 and the Avebury house pictured in Gila 01, the first legitimate collage of the whole Gilatona-Lis series[ as Falmouth 03 is part of the last overall collage of same]. Beginning has met end. In Gila 01, a hand projects from a chimney, and here we have the same hand and the same chimney in theory. The variant band The Kniks, different from The Kinks, use 12 Oz Mouse to declare their independence from all other carrcass artists, but perhaps primarily Frank Zapple. They do this through the single Dead End Steet with a backing Big Black Skome. This is from Gila 00, the collage before the collages begin, the noid before the one.

(continued in Falmouth Interpretations/Associations 02)

I woke up this morning and couldn’t for the life of me find the cover to the steaming part of my new cappuchino machine. It threw me completely off-balance, just that little thing. And I’m suppose to *survive* in Britain on my own for a week and out of my comfort zone. Maybe I should rethink the whole thing. Plane tickets presently are 1400 dollars. My car is leaking almost a quart of oil a day. We need *lots* of work on the house (not that I’d do that kind of work if I stayed here, but you never know…). I’m scared to drive over there, and a car would cost an additional hundreds of dollars. But I think I need a car still… not sure how I’d handle buses.

Not that I’m not convinced we shouldn’t go over there later in life for months at a time. I’m *convinced* we *will*. But maybe not this time, not for 2 weeks.

But then again I feel the whole collage process of the past 2+ months has been pushing me toward the trip. I *have* to go. Yet I’m not sure I’ll survive mentally. I just wouldn’t enjoy it enough. I think I was suppose to go this far in the planning and then back out. That’s a lot of money for a plane ticket — the next trip will most likely be cheaper 3 years down the road. If I back out then I can take days off now — get out in the woods in the middle of the day. This cold weather is driving us both bonkers. I want to *hike*. Last year at this time I was on about my 3rd woodsy mythology story.

But then again I’m very pleased with the collage process I’m on the outer edges of now. I should finish a Lis interpretation this week. The collages themselves seem to be completed — 36 of ’em (!) I have my virtual gallery all set up with supporting galleries around it, all for about 18 dollars a month rent (given up my premium Second Life account — not sure if I’ll ever go back to that).

So I think that’s it — I’ve thought and thought and *thought* about Wiltshire, but am not sure I can take the step to physically going over there right now. I had to trick myself into thinking I was going.

Unless *this* is the trick.

My guess is that it’ll take me weeks to readjust to the US of A. *Your* US of A. Amereca. I live in a virtual paradise within your country, an oasis. That’s the only way I can stand it. You have your poison ivy, your blacksnakes, your red ants. Your *heat*. Your greenways crowded with people because they’re very few public paths really for such a *lot* of open space still in this country. And houses on top of mountains — no: *cities*. Yes, there’s a *town* being built on the mountain directly in front of our porch, stretching from left to right as far as the eye can see. So if I have to save a little money to get out of here for a number of months *later* then it’s worth it. I *know* I have to go. “But baker,” I can hear you say, “Britain will have its problems too. There’s a lot of people and much less land. You don’t like people, baker.” No, I don’t. Not that I hate people but they annoy me. I think *mentally* I understand that the girls and the boys of the US of A are just trying the best they can in their own way. Many of them, esp. the younger ones of the children people, don’t understand the world is falling apart around them like rotting fruit. People are not healthy any longer. Commercials of our — your — tv tell us the joys of eating food full of refined sugar and flour. Grocery stores line their shelves with Pepsi and Coke and Gatorade. Something is wrong here folks. It was different when people raised their own food, however harder the process was to get the food to your plate in the first place. We lived closer to the land. Not that I’m a big hippie freak and want everything to revert back to the 18th Century. I can’t do without my flush toilets, for one thing.

So, yeah, I want to go to Britain where they care about their past and preserve their land with their right-of-ways. Not that they haven’t been just as savage as Amerecans are presently, just that they seem to be more beyond all that macho posturing, shall we say, now that they’re not *the* world superpower, and clearly will never be in that particular leadership role again. Civilized — yeah, it seems more civilized over there, the way it should be. A show like Luxury Comedy would *never* air on prime time television over here. All we watch any more is British tv and cult American comedy quite far away from the 8-10 prime slots. 12 Oz Mouse is a work of genius, but even with a miniscule budget that creative juggernaut was cancelled after 2 short seasons.

I look down the list of movies and tv shows and music that I like. I’ll give Amerecans the edge on movies, probably simply because they churn out so many and there’s bound to be a collection of good ones within. British, like I’ve implied, clearly have the edge in popular TV. Their music is also top rate, and least the popular stuff. Granted again that their classical composers have equals in other countries, and it is in this area I may champion more some, gag, *French* exports like Satie and Messiaen. I seem to be so British underneath the surface that I have an irrational hatred of the French… no other, real reason for it to be there.

So I’ve spouted on enough. Back to collage interpretation.

(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)

… we continue with an analysis of Falmouth, making this a sort of Falmouth Interpretation/Analysis 03.”

Hucka D.:

But you haven’t finished your Lis interpretation/analysis. Maybe you should create that tomorrow.

bb:

Right I’ll do that. I feel quite a bit better now I’ve established another base on a local creek which I’m also calling Falmouth, after the collage series I maybe have just completed in rough draft form.

Hucka D.:

Is the base Falmouth or is the creek Falmouth, however?

bb:

Not sure just yet. But I have my bottles at this base, along with a metal circle. About 30 bottles altogether. Very exciting.

Hucka D.:

About the number of your Gilatona-Lis collages. Or is that Gilatona-Lis-Falmouth now?

bb:

Probably just Gilatona-Lis, with Falmouth a hidden series at the top.

Hucka D.:

The 4th, yeah. We had bets about whether you’d reach that level this time.

bb:

Did you win any money off of me, Hucka D.

Hucka D.:

No… lost. Hehe.

bb:

Thanks for believing in me!

Hucka D.:

We’ll, it’s always a gamble. We’ve provided you with so much time. That’s not coming to an end, but it’s not at the beginning, either. You better get to Falmouth 01 again. As I understand you’ve figured out that the Man/Woman in the picture is the same as the man/woman in the Lis series, which we first see in Lis 02 in female form, then Lis 03 in both female and male form, walking together, and then in male form in Lis 03 04 where he meets Meet Shake, er, Meat Shake. Sorry… forgot you can’t see how I spell that. Meating Meet Shake.

bb:

Yeah. But now that’s Cygnus X-1… that’s what we figured out.

Hucka D.:

Yes, that’s another bet I lost. That you would find that connection.

bb:

Hucka D., I think you bet on me all these times you mention. How could you not?

Hucka D.:

Again, the time thing. Back to Lis, we have in Lis 05 the reappearance of man/woman as a woman, lying on the grass. This time she cannot walk, like Christina in Andrew Wythe’s most famous painting of the same name. This is in contrast to her female form in Lis 01, who is standing next to a gravestone and can obviously walk as well. In Lis 06 Lis 07 Lis 08 Lis 09, we do not have the woman or man clearly, but in Falmouth 01, there she is again in Christina form, and with the Man/Woman of 12 Oz Mouse to reinforce the connection. And probably the central Red Lion woman character is this same person, which means she is probably the same as the resurrected man of Lis 09, the ending collage of that series and the one that technically would come immediately before Falmouth 01 in Gilatona-Lis. Is that correct?

bb:

You know it is.

Hucka D.:

Pause.

bb:

The woman wears purple in Lis 01, then the man who is the same wears blue in Lis 02 where he is seen together with the purple clad woman, and then the blue man is seen alone in Lis 03 04, where he is doubled with a blue uniformed Paul McCartney — Marty. Then in Lis 05, the woman wears pink. So in Falmouth 01, the Man/Woman who is the same wears both blue and purple together. Pink is kind of a light purple here. So Man/Woman in Falmouth 01 wears the same two colors as the man and woman of Lis 02, to make this simpler. I’ll provide links later, but I’m looking at the 2 collages in 2 separate windows right now for comparison. It’s apt. The blue is a little lighter on the Lis 02 man than in Falmouth 01, and the purple is a little darker on the Lis 02 woman than the Man/Woman in Falmouth 01. Equals out, it seems.

Hucka D.:

But…

bb:

But the woman in Lis 04 is obviously staring at a Cygnus X-1 situation again, with the yellow McCoy representing an ordinary sun and the moon a swallowing black hole in this case. The swan in the background reinforces this, and it’s on a geograph line between squares SU061 and SU161. The Crammer is divided between the two, as Brian R. Marshall points out in his related picture captions — the 2 base photos of his I use and combine in Lis 05.

Hucka D.:

The insertion of Christina into Lis 05 is prime. As you might recall, I was initially opposed to this addition or change, coming, as it were, after the Lis series had been properly finished and sealed up and you had moved into Falmouth, or were about to. Christina’s addition lends itself… opens the door I mean to the Max Ernst influsion in Falmouth which is the wrong path to take. This would be additions from the painting “The Robing of the Bride”. The symbols are too sexual in that case, and against the grain of your style. You’ve pushed all that off to the left, as it were. Left it behind. Left behind. So eventually the Ernst material, borrowed directly from a famous artist’s painting just as Christina was, is left behind in turn, as you replace it with Man/Woman from Ozmo. This is the correct addition, and slots between the Red Lion woman and Christina who is also the Man/Woman perfectly. The Man/Woman pats the Red Lion woman which is herself on the shoulder to reassure. She is the center piece now. All emerge from the top or are perched on the top of that glass that contained the Croppie beer…

bb:

Her left eye, sorry right eye is the same as the swan with the eye in Lis 05, another smaller revision to that collage after Lis was seemingly over. And this obviously relates to a black hole, through the proven black hole of Cygnus X-1.

Hucka D.:

Soon crop circles will be proven in the same fashion. Croppies will be proven correct.

bb:

Christina seems to have learned how to walk again through the progression of Ozmo’s Man/Woman to her right, and then the tall, standing Red Lion woman to her right in turn. The right eye is the Cygnus X-1 black hole. The left eye is the Cygnus X-1 normal star, like our sun except whiter and larger. But a so-called normal sun still. The eye was found in the trapdoor more at the front of the Alton Priors church. Taking your lines again, most likely.

Hucka D.:

The eye was found in the trapdoor more at the Alton Prior church’s front door. Is there an echo in here? Oh, it’s only you. You and me. So the man in Lis 09 finds the eye in the trapdoor, which in our reality manifests as the eye in the sarsen stone actually underneath the trap door. All that revolves around this. The man finds the eye and it becomes the black hole star of Cygnus X-1. He now has two eyes. He can walk about again. He goes down to The Barge just down the path, the road, and orders a Croppie. Ummmm, good. Satisfying. Relaxing. Then he poses for your picture. He knows he’ll be in the collage because of that all seeing black hole eye, you see.

bb:

Maybe.

Hucka D.:

True. He realizes that The Barge is the same as the Red Lion pub over in Avebury[ several miles to the north], and that *that* could have been another crop circle watering hole discussion place. Another type of Croppie could be served there. But it was not to be. So the Red Lion woman/man decides to take action, and turns the Red lion pub into The Barge to teach it not a harsh lesson but a kind lesson. A gentle lesson. Christina turns her back on the collage — resulting collage. But in Latona 03 04, which timewise comes just before or after this, take your pick, the similarly clad Sound of Music children turn toward Mouse who is playing guitar in almost that same spot.

bb:

The theory goes that the Red Lion woman is the same as the red haired or wigged woman to the right here, actually present in the Red Lion parking lot at the time the Streetview cameras moved by to take their pictures for Google Earth. She’s also in the background of Latona 03 04. There we compared her to Amy Pond of the Dr. Who series, recently deceased in that series.

Hucka D.:

Spoilers, darling.

bb:

She was there at the Red Lion pub but she was there in The Barge. That’s one of the primary inspirations for the Falmouth series in the 1st place, this seeming impossibility. Does this red haired person just roam from Wiltshire pub to Wiltshire pub testing out the beers?

Hucka D. (flatly):

No.

bb:

She is the spirt of cropdom or cerealogy.

Hucka D.:

Yes.

bb:

She seems to emerge like a spirt from the glass formerly containing the Croppie beer. Which seems to be the same as the white car in the foreground.

Hucka D.:

R. Booger Hayes then rides atop that car in Falmouth 02. He’s on top of the white car, and Red Lion woman is on top of the white car. Smoking.

bb:

Should we end?

Hucka D.:

We should end.

“Hucka D., I found a new creek today. Or realized its importance after knowing about it before but passing it up. This is *Falmouth*.”

Hucka D.:

Yes it is. And we better get back to the Falmouth collages because of your neck. Good you read that last post over again before starting up here.

bb:

We were on Falmouth 02 — the Rockley rock in the background, on the edge of the Avebury circular ridge on its northern side…

Hucka D.:

Direction of the Kniks’ house from the center of the village…

bb:

Yes. So the rock perhaps doesn’t spin, but it’s still a rock, like rock music… like Shark’s record of a rock song or rock album. This is the hand Mouse finds in his freezer (but which he doesn’t have to get on his mousie tippie toes to see, hehe), and then says it’s a record and he should “spin it.” But internally it is symbolically spinning because we have 3 circles around a central triangle on this rock, as we’ve seen before in Gila 05 and also Latona 05. In Latona 05 it seems to have pinned down a hand itself.

Hucka D.:

Yes.

bb:

And then in Falmouth 02 we have more arms, because in Latona 05 we are dealing with actual arms and not just hands…

Hucka D.:

Yes, 2 arms in each.

bb:

Bart in Falmouth 02 holds his sister’s arm, apparently, after she attempts to hug and love him[ in Falmouth 04].

Hucka D.:

There is no real before and after here. We’re talking about Avebury after all, the center. The Center. It is before and after and the all all at once. It is in all 4 collage series of yours.

bb:

Okay, no before and after. I understand that. I think. At least in principle.

Hucka D.:

It all goes in a big circle here[ meaning Falmouth is 4 collages that go in a circle, with no end].

bb:

2 arms, then, in Falmouth 02. Bart has one, and then the other belongs to Hayes riding not in a car but on top of a car. He’s on top of his[ malevolent] game?

Hucka D.:

He has Patty’s arm. Or Selma’s — can’t remember. He smokes her cigarette with her arm. This is a Marlborough cigarette. He is then A. Marlborough Mann. Like you will be for a brief period this summer. No backing out now!

bb:

Guess not Hucka D. I’ll be okay.

Hucka D.:

You’ll be okay.

bb:

It’s the same arm, however. Bart is kind of Hayes here. President R. Booger Hayes we’re talking about here. The same as in Falmouth 04. He forms an animation between the two.

Hucka D.:

Very close but not quite[ meaning he moves to the left a tiny bit when Falmouth 04 is overlapped with Falmouth 02].

bb:

Yes, interesting. I’ll have to think about that small movement.

Hucka D.:

So what doese it all add up to? You have a circle of meditators on the roof of the Red Lion Inn and Pub… circle is emphasized by the Forest Home circle with Saucer on the edge… there’s a saucer on the roof with the circle of meditators. This must be the Forest Home circle, then. As Glickman states, it’s a perfect circle [meditators] that forms in the center of the Silbury Hill Koch crop circle. This is also where the blue lined triangle from Falmouth 02 comes from. This is 02. This is the 02nd iteration of the Koch fractal crop circle visiting Silbury Hill in 1998. It’s mirrored in the blue sky peering through the hole of the Rockley rock, but the 3 triangles have turned into circles surrounding this one, open triangle. Same idea, however. At least to me. The Baker Bloch stares at one of the 2nd iteration triangle himself on his wall, meditating on his own. He is meditating but not part of the circle of 22 tiny human beings on the Red Lion roof. But they’re pretty close to him still. Then…

bb:

Then…

Hucka D.:

Then… we have 3rd iteration triangles, red lined this time, on top of the roof *opposite* the Red Lion in the Falmouth series. On the building or home across the road. You should rent it[ if you can].

bb:

Not sure I want to live *right* in Avebury, Hucka D.

Hucka D.:

Fair enough. The 12 3rd tier iterations become like the 12 hours of a clock, with a minute hand and perhaps also an hour hand. It’s probably suppose to be pointing to or indicating 2:22, like in the 12 Oz Mouse show and also the clock just above the roof, attach to the speaking bubble of Shark. Shark is telling Mouse all of this, then. He’s trying to tell him about The Clock.

bb:

In the background[ to the left] there’s that red shirted guy looking like he’s stealing one of the Avebury rocks again. He’s in Gila 05 as well, along with the Rockley crop circle that reappears in Falmouth 02. And, in looking at it, the monster at the bottom of 05, one of the Gila “monsters” of this collage’s title, Hucka D…

Hucka D.:

Yes.

bb:

… looks a lot like the shark in Falmouth 02. Another sea monster. One eye showing in each. In Gila 05, the monster appears to have his mouth blocked off by something. Like he can’t talk. Or can’t eat.

Hucka D.:

He is not ready yet to talk about The Clock. That will have to wait until Falmouth, which he knows is coming up but still is a long way off. So he manifests in preliminary form, giving you important clues that you are only now seeing or remembering. Because you are remembering backwards.

bb:

So the shared image of the red clad man walking through the 2 Avebury stones must be a key. It is remembering itself. It is talking and remembering.

Hucka D.:

Yes.

bb:

(pause) Oh, the children… the Sound of Music children — their postures mirror those of the Avebury stones to their right (!) They are these stones.

Hucka D.:

It seems to be so. The right child is the right rock and the left child is the left rock. And they watch a rock.

bb:

Whatever the red clad man is doing between these rocks — and here[ and also there, or Gila 05] he appears to be stealing another Averbury rock — that’s what the Rockley rock signifies in Falmouth 02. The rock he’s stealing appears to be about the same shape as one of the circles on the Rockley rock, Hucka D. It might be the central circle (!).

Hucka D.:

(!)

bb:

I also remembered that in “Father Fred” the clock Syd Barrett sings about becomes a rock in the synch. This is a direct link. I’ll put the lyrics at the end of this post.* I also think this is important because the rock-clock synch involves Smipson’s video… “Lemon of Troy” to be specific. This appears to reinforce that the clock here is a rock. I should watch “Father F.” tomorrow.

Hucka D.:

There is a direct link. That’s part of the big Table.

—–

* I’m screaming, I met you this way
you’re nice to me like ice
in the clock they sent through a washing machine
come around, make it soon, so alone
please, please, Baby Lemonade
Read more at http://www.songmeanings.net/songs/view/3458764513820560141/#BBr5u5AVzOB8G0Rr.99

… can do that.”

bb:

12 hours later, but same topic or topics.

Hucka D.:

Your neck will heal — sprain. Don’t worry about it. But stay away from the home computer a bit. Work downstairs.

bb:

Thanks. Maybe another carrcass.

Hucka D.:

Yes. And hiking. You still need to hike. Walk up mountains… walk through the woods and not on the paths.

bb:

Falmouth Stage 1 is finished. Let me look…

Hucka D.:

I’ll look with you.

—–

bb:

I like the way the Man/Woman is patting the central red haired lady of Falmouth 01 on the shoulders. It’s a sweet collage instead of a scary one, when I had the Max Ernst material added in (since removed). Edna and I both tend strongly toward sweet things.

Hucka D.:

Pat on the back, but maybe also like, tag, you’re it. Or they’re the same. On the other side, this Man/Woman likes rules, but if you’ve read one rule haven’t you read all the rules? Obviously related to R110. Why is her hand left on the top of the building above Mouse and Shark? Is it the same as The Hand of the series? Maybe. And what of the Shark… he’s the Prez according to his sign. Is he the same as President R. Booger Hayes? Seems to be to me, and to you.

bb:

Yes.

Hucka D.:

I’m talking about Falmouth 03 now, yes. So this follows up on the hint you had when we spoke to Hayes earlier through this blog, when you realized he reminded you of the bad guy in SID’s 1st Oz: Dr. Worley of the asylum[ who tried to fry poor, confused Dorothy’s little brains]. In SID, Worley is directly compared to a shark. (Hucka D. sings here:) “Was that fin on the back part of the deal — shaarrk.”

bb:

Nice voice. Almost like a recording.

Hucka D.:

Ethel taught me that. So Hayes comes out of the suit of Hayes as a sunfish — Lucifer — Venus. Venus and Mercury together. You see?

bb:

Yeah, I think so. A bit.

Hucka D.:

So…

bb:

So the shark reference in “Death on 2 Legs” from SID probably points to Ozmo’s Shark.

Hucka D.:

Yes. To continue: Shark and Mouse talk of corndogs. Shark doesn’t like corndogs. Remember that Hayes loves corndogs.

bb:

Doesn’t make sense.

Hucka D.:

Then the corndog is up on the roof, perhaps out of Mouse’s reach. It’s encircles by twelve red triangular thingies. This is the 3rd iteration. There is no true 4th iteration. This is also the 3rd collage of Falmouth. Debate will occur, however, about this instead being “merely” Lis 10, an extended production. But we here must treat it as Falmouth, the 4th [Lis being the 3rd series of Gilatona-Lis]. Each collage of Falmouth is self contained while at the same time lending its meaning to the whole. 4 collages total. Falmouth. So the 12 red triangles are like the 12 numbers on a clock, or 12 hours of the day, times 2. Clock is just above the triangle to reinforce this, or causes the inference in the first place. Still okay with the typing?

bb:

Yeah. So far.

Hucka D.:

As you pointed out, there’s a hand on the roof, along with the corndog. It juts from the outer part of the talk bubble. This is Shark speaking, then. Shark in Ozmo describes the found Hand as a record to Mouse, and that he should spin it. It’s Shark’s record. We know from Carrcass-1 that this record is Powerman. Spinning a hand is like a clock hand spinning around the hours, if they’re going fast enough.

bb:

The hand is like a clock hand, yeah.

Hucka D.:

It’s on 4, but that might not mean anything. The corndog is almost like the hour hand of a clock, while the hand itself is the minute hand perhaps. Or even the second hand. There was a second Hand in Ozmo?

bb:

Not sure, Hucka D. There was a second Eye.

Hucka D.:

So this whole episode is connected to what’s happening in Latona 03 04, which we’ve already examined. Mouse plays for the Sound of Music children there — is this before or after the current scene where he’s interacting with Shark?

bb:

Could be either — another Wilson-Wheeler conundrum. Shark, I mean Mouse perhaps plays Shark’s record to the children after the meeting. Or before. The courtyard that Shark and Mouse are speaking in here is just behind — on the other side of the street — the guitar wielding Mouse in Latona 04. Or Latona 03, however you’re counting it. The Sound of Music children reappear in Falmounth (02), reinforcing that this is part of the same overall time event. But in Falmouth 02, the children are distracted by a rock seeming almost to cross the road to the north. This is the Rockley crop circle rock, found in The Barge. And to further this, there’s a lot of Barge imagery in Falmouth 01, circling back clockwise. There’s a croppie beer logo stuck to the front of the Red Lion pub this time, and then a UFO and also a white horse (Alton Barnes’) from a Barge promotion poster on another of their buildings. The Barge has truly invaded or taken over the perhaps rival Red Lion pub. This is because the actions of the red woman, as we’ll call her.

Hucka D.:

The Red Lion herself. No eyes, but at the front counter of The Barge. That’s the link — she’s in the parking lot of the Red Lion pub in Latona 03 04, and still is from another angle in Falmouth 01. All that is part of one overall time event as you said.

bb:

This is the Red Lion that the man/woman is patting on the shoulder, to get back to our origin point for this particular post.

Hucka D.:

But you’ve given the Red Lion eyes, I see. To see. This is the same as the resurrected being in Lis 09, the collage coming before this in the overall series. It’s the same eyes.

bb:

Well, her *left* eye is the same as the right eye of the resurrected guy in Lis 09, yes. And this is Chrissie of the Jelly Fox crew, the chatty one.

Hucka D.:

The right one is a swan. That’s a black hole, baker b. Cygnus X-1. Good investigating work, baker b. Of course we planted it there at the east portal of the old railway tunnel for you to find.

bb:

The Red Lion woman knows about the black hole that engulfs the Dr. Who figure of Latona 03. She watched it form on the top of the Red Lion pub, traveling along its roof. The perfecting circle. It…

Hucka D.:

Hold on, baker b. Someone just came in the door. An alien.

bb:

Where? There?

Hucka D.:

There is here.

bb:

Do you have to talk to it? Do we need to pause?

Hucka D.:

Yes.

—–

So I’ll just talk to myself while Hucka is busy with his guest. The resurrected being in the Alton Priors church — where would he go? I think he would head to The Barge for a drink. Get a croppie. That’s what Falmouth 01 indicates. The man/woman touches the Red Lion woman to indicate that he or she remembers all lives, male and female. She is androgyny. Saucer on the roof — Saucer, Alabama forms or indicates the circumference of the Forest Home circle with Forest Home as the central dot. The croppie perhaps calms her nerves. The red hair parts around what seems to be a mouth. She wishes to talk.

—–

Hucka D.:

I’m back. That was the Red Lion woman paying me a visit — listening in again. She said you can go back to Rust Spot now, but don’t use the material there for a toy happening. But you’ve found other toys to play with in the meantime.

bb:

Some, Hucka D. Bottles. Can’t decide where to talk them to Methril or Epsi, or some other place.

Hucka D.:

Back to Falmouth — sorry for the interruption. She said she’d come back soon.

bb:

Was she nice?

Hucka D.:

Seemed to be. Said she wasn’t alone, and that she had to get back to the Forest Home.

bb:

In Falmouth 01, the Red Lion woman reinforces her association with the Red Lion by standing in front of the logo. Her head obscures the red lion on the side of the building.

Hucka D.:

The Red Lion is central. Avebury is central[ to Gilatona-Lis]. How are we doing?

bb:

Pretty good. The hand in the sky this time helps to knit two part of the picture together. Blue skies. But it also acts as a double for the man/woman’s hand patting the Red Lion woman. This is probably the most important collage yet in Gilatona-Lis, Hucka D.

Hucka D.:

Yes. Then on the opposite side[ Falmouth 03] we have the woman’s hand again, coming out of the chimney and associating this house with the Avebury house just up the road, seen in Gila 02.

bb:

Seems like a long time ago when I created that picture, Hucka D. But only 2 months ago.

Hucka D.:

This house is that house. That’s the house of The Kniks, after they became a variant band. It’s Ray Davies’ band after all. They tried to form Apricot Bone but all they got was Village Green P.S. Apricot Bone instead became something else.

bb:

The spinning record itself which is the same as The Hand is that single Dead End Steert/Big Black Skome, Hucka D. That’s how they became a true, variant band.

Hucka D.:

It will take a lot of talking to Ray to convince him that the variant band is a good idea. But once he swings around he will be a best ally. You and he are much alike.

bb:

Will Ingor Ratts talk with him?

Hucka D.:

Yes. How’s it going?

bb:

Still fairly good.

Hucka D.:

Then Falmouth 02. What’s happening here?

bb:

The children from the Sound of Music are now fascinated with something else in Avebury besides the guitar playing Mouse from Ozmo, the namesake mouse. This is a rock depicting a Rockley crop circle, again found in The Barge.

Hucka D.:

Red Lion woman placed it there. But I see now it has a hole in it. A triangular hole. Is this the blackhole?

bb:

Not sure, Hucka D. Could be the same blue lined triangle that Baker Bloch is seeming to mediate upon in the foreground. It’s pinned or glued or sumtin on the brick wall in front of him.

Hucka D.:

He’s mesmerized by the triangle. It is his reality. But then the rock comes — huge. Making huge noises. Crosses the road. Baker Bloch looks up and realizes the world is going on around him. Bart Smipson is staring at him with an arm of his sister. President Hayes is smoking Marlborough cigarettes on top of a car to his right, with another cartoon arm. This is the arm of the aunt, or perhaps the sister’s all grown up. The Sound of Music children also watch the rock, Baker Bloch notices, probably for a while. It perhaps is spinning, just like Shark’s record should be spinning. Rock music — spinning. Perhaps this is the album or record, baker b., that Shark speaks about in his speaking bubble. And then Baker Bloch realizes he’s sitting at a corner of another, larger triangle formed by separated red sticks or poles. He sits on the edge of a road, perhaps in danger of being run over, especially if he topples backwards in his grogginess. Why does the chichen cross the road?

bb:

Then the Rockley cabin with the Big Chimney is to the right of Falmouth 02. With a Rockley white horse, now extinct, near the bottom of the chimney. Almost like it can gallop off the chimney and into the surrounding fields.

Hucka D.:

It can. We better end soon. Bart is the same as Lisa, or a generative form of Lisa. Their love keeps them bonded. But Bart has stolen Lisa’s whole arm. This is like your US of A chopping of The Mighty Boosch for stateside consumption. Fielding said it was like chopping off your child’s arm [the way “we” edited it down]. They want to make a fossil of Bob Fossil. He’s too effeminate. So this is what your President Hayes’ US of A did to another fine British import. Like The Beetles before them. Like the Kniks. Yet they gave us The Smipsons.

bb:

Thank you Hucka D.