The baker b. period: 1997-2003
Audiovisual collages described in this section are SYNCS (or SYNCHS or SYNCHRONICITIES) created from 1997 to present by baker b. or one of his protecting alts.
Works of this type concocted from 1997 up to 2003 are claimed as the creations of baker b. himself, relatively simpler syncs in comparision to what was coming around the bend, and minimally archivable merely as RECIPES to re-create in a home environment. An open source table of cued regions (aka “tiles”) needed to cobble together all these synchronicities will soon be available on the Sunklands site. This document will contain important tests to see if you’ve set any one synchronicity up correctly, and also the named versions of necessary DVDs and CDs.
Bottom line: If you have the correct DVDs and CDs, along with this table, you should *theoretically* be able to re-create any of these baker b. synchronicities, even the most complex one involving 26 tiles called SID’s 1st Oz from late 2002.
For much more on how this whole thing got started and evolved from Dark Side of the Rainbow to SID’s 1st Oz, check out THE OZ/FLOYD PARADOX INTERVIEW of baker b. conducted by then friend and comrade Pierre Schaeffer:
If this is too much information for you, have a look at the smoothed out, abridged version I was able to piece together this year on a synchronicity related facebook group. The links to the digital files have expired, however.
2016/07/05: Also see now the 2015 update of this interview conducted by fellow syncher Karl Tune (who I interviewed in turn).
Also coming up from this period: a considerably more detailed look at Dark Side of the Rainbow and how it appears to stretch out into other unexpected directions. I would be at least partially talking about The Rainbow Sphere, my original audiovisual synchronicity find, I feel.
The Pierre Schaeffer era: 2004-2007
After 2003, baker b. left the synch scene to focus on the more regular and accepted 2d digital collages now featured on this site, beginning with the Greenup series of the Art 10×10. But Pierre Schaeffer, more powerful by this time, continued on with the audiovisual ones, adding another whole new level to what was understood before.
A follow-up to the 2003 Paradox Interview was started in late 2005 but turned into a larger, fictional work called PARADOX II: THE CHANCELLING. The original intent was to discuss post-Oz/Floyd Paradox Interview audiovisual synchronicities in a similar manner as before, again using Pierre as a kind of sounding board. Instead he transformed into an independent and fully functional alt at this juncture. You can check out more of the story here, but please, take it as it is: loosely structured absurdist fiction(!):
Paradox II: The Chancelling: Aquamarine
Paradox II: The Chancelling: Cobalt (COMING SOON)
Paradox II: The Chancelling: Azure (COMING SOON)
Paradox II: The Chancelling: Indigo (COMING SOON)
Paradox II: The Chancelling: Ultramarine (COMING SOON)
Pierre tragically died when he fell into the great Lake District gash aptly named Pier’s Gill in late 2007. Even supermen have their kryptonites. But no real worries: he predicted a resurrection in Gill’s Pier, Michigan sometime in 2052, and I’ll most likely take his word for it. At that time, all audiovisual synchs by baker b., Pierre Schaeffer, Carrcassonnee and anyone else will be declared legal art, and free to share with all. 2052 promises to be a funtastically super year!
The reign of Carrcassonnee: 2008-2015 (?)
Carrcassonnee first made her alien presence known to me in Pietmond, a virtual village of my own design but which she later claimed as being her own. Physically Big C can be described as an 17 foot tall chartreuse colored entity of opaque nature, with 2 arms and legs sticking out from a torso like us humans but having no actual hands or feet. Also her head is just a simple oval, although she can trap eyes within it. She further claims to own all audiovisual synchs created by baker b. beyond the Pierre era (“Piera”). The unraveling of her full story will come at another time.
Carrcassonnee era audiovisual synchs are often referred to as her “carrcasses”.