Tag Archives: DARTS

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“It’s bs about the Cleveland Rocks ultimately representing a phallus. And everyone who was hired by Asylum was given that list. They were ask to study it, write down 10 things they noticed. From this, they were assigned their positions within the company, a kind of aptitude test. Grandpa didn’t do well on it, didn’t even spot the obvious reversing of the D words Diablo with Draco in the supposedly completely alphabetized list, and so he was given the position of, let’s call it, sanitation engineer.”

“Grandpa,” asked Fern about the name. “Why did you call him that?”

“Because he was Grandpa Cliffs before he was Drew ‘Grumpy’ Cleveland. He’s *old*. The project was actually started in 1919, not 1972. That list was invented in 1919, both of ’em actually, although of course the second was advertised as the only one at the time.”

“He told us he was from ‘rough’ Grandpa Cliffs, as he put it, but implied it was a place. Just across the channel — I assumed he meant the river that flows below Castle Town, fixed in a gorgeous gorge.”

“No, that was his name,” insisted Teebestia the Asylum bartender, mask removed and revealed for what she was. A fount of knowledge about all things Asylum. She was old too, older than Grandpa, er, Grumpy, she claimed. “He was rough all right, though,” she continued. “Brought a rusty knife right with him into the compound on his first day. Rust is prohibited anywhere on Mars, you see. It’s because it’s considered a concealed weapon, even if you openly wield it in your hand. Mars is just that dusty. Can’t have rust or rust colored objects. So he was given a fine right off the bat.”

“And, let me guess, that was also on the aptitude test. Which Grandpa/Grumpy didn’t spot as well, didn’t understand the rule being openly displayed in the list.”

“RUSTYKNIFE, yeah,” said Teebestia, idle in the moment and free to talk at length. Only kind of rush they get in this place is 12-1 when the labs let out. “Should have been paired with MUSKET as an obsolete or extinct weapon. (The test) is all about pairings. GREEN-GRAY obviously.”

“Right.” Fern had time to study the list more later with this new information but she’d already started in her head. DIABLO-DRACO, GRAYBACK (or Greyback) and GREENGROW. Now MUSKET-RUSTYKNIFE. RUSTYKNIFE also with SPEARFINGER as a small projectile of death given long, sharp nails. And then CHOKE, BURN, BEAT, SPEAR — methods of death. EVE paired with JOANA indicates the overarching name and purpose of the thing. Fern could obviously have been president of this company. And perhaps she still can. “Leader?” she barked to Teebestia. “Wayne as in Bruce?”

Teebestia was looking for an opening to produce a copy of the red book from below the counter, slide it toward Fern as physical answer to a tough question. And so here it was. She had a stack of them down there.

“You want me to, study this?” Fern said, picking up the book and looking at the town on the cover.

“Start with references to a certain Biff Carter within and work your way out from there.” 3 customers walked into the bar named Sherwood, George, and Rutherford. She had to excuse herself with this.

“Whad’ll — it — be?” she asked them as if she had three heads instead of one, speaking, in turn, to the first, the middle, the last.

A dart shot into The Mouse.

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Turns out it was all a misunderstanding mostly created by Toddles herself. Vain and Artery Boyy and, especially, Rock didn’t have the sense to think that a legal guardian must be found for Toddles, due to the fact that she acted so *independent* around them, we’ll say. Toddles insisted they celebrate the reunion and work out the kinks of the intertwined connections later on after visiting the Millgate Halloween Festival — located to the north and west of Big Sandy on the old Bellissaria continent — before it was too late and her 2nd favorite holiday after Arbor Day was done and over with.

—–

They’d left Rock to play in a haunted sandbox outside with an object provided plastic zombie pail and ghost shovel. He would be happy for hours if needed. And Alice F., wore out from the tour already, was upstairs taking a power nap, as she described it. The bad dreams began almost instantly, like back in the Belt Days.

Which left Toddles and Vain and Artery Boyy (aka Gill) downstairs, trying to figure out a mystery. “The thing that interests me most,” spoke the precocious child, obviously precious as well, “is *not* the 2 darts through the eyes — that’s more a distraction I’m thinking. It’s the presence of that blue ball at the foot of the body. Blue, Vain and Artery Boyy. Like your better half.”

He thought of Blue Berry Girl here and the life that could have been. But too late now. She was off to the Pleiades or Andromeda or some other starry paradise high in the nighttime sky. Seeing herself seeing herself seeing herself…

“What do you mean?” he prompted, staring at it now as well.

“Well, I mean, it just doesn’t *fit*. Let’s continue thinking out loud together — why did the Lindens, or Moles whoever, put it there?”

After V&AB didn’t answer for a spell, Toddles went on. “Blue ball begets yellow ball begets red green begets green red. We’ve already been through that. The prison bowling alley. Exactly 2 sections back.”

“I–” Vain started, then stopped. He had nothing really to say. He just decided to listen to genius unfurled in front of him. Yes, he’d try to stick with the child. He’d fight for her, even, at this point. Grandmas are challengeable legal guardians he figured. Not like a mama and a papa, which apparently Toddles didn’t have. He wondered why — he’d ask the grandma as soon as she finished her nap. He’d battle on the grounds that she had a 37 year old brain inside a 3 year old’s body, ready to be released on the world.

Alice woke up in a different bed, but the shadow figure was still there, go figure. And then someone else. Not a leprechaun but similarly sized. Maybe it is some kind of leprechaun given what comes afterwards. “Hell-o!” he or she or it says innocently in a child-like voice. “Hell-ooo!”

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Falmouth Visit Floor 2

“Ahh, Stonethwaite,” Jacob I. coos when encountering Falmouth 2o on floor 2. “Or quite close — the fabulous Greenup Gill valley just south.” A collage of two photos from that region here, with “The Shining’s” dart throwing Danny, a prostrate Mr. Bean, and others helping to glue them together.

Story Room again (Falmouth 22, a 4 part animation),  joined in another peculiar way now.

Falmouth 23: Jacob I. feels more meaning here as well. A strolling Sherwood Anderson of “Winesburg, Ohio” fame in center, a posed 19th U.S. president Rutherford B. Hayes in upper right. Another county implied: Sandusky in Ohio, home to both. A direct descendant of President Hayes use to drive darts into his Mouse Island just north of it.

Jacob I. decides to manifest a Phillip Linden doll to help him ponder the meaning of Falmouth 23. “My user enters a portal behind or beside the grave of Annie,  standing for animation.”

But the concept blew Phillip’s mind.

Famouth 24: There is a pattern here. Hayes again. Images from “The Shining” once more. Shark and Fitz from “12 Oz Mouse” — which he’s viewed now in its 3 hour movie format. Clock as well. 2:37 I suppose. Now 15 minutes beyond the 2:22 slice of time that Fitz was stuck in at his Cardboard City for the majority of the film. Like Phil of “Groundhog Day.” “1 Pink.”

And then Stonethwaite itself in Falmouth 26 (!). Stonethwaite End and Restaurant to be exact, the place where, let’s see, I suppose Chroma could have run this, Jacob ruminates. He’ll have to check…

More Stonethwaite in Falmouth 27 and 28 that follows…

… and more in Falmouth 29/30 to finish up floor 2. A type of diptych for this one, he thinks.

“My user”, he says aloud. “Staring at the transfigured end of that railroad tunnel in Devizes, England.” On the bridge. A place of accosting. Man shaped like small tank. Escape. But both roommate there and the roommate’s landlord now dead in the ensuing 4 1/2 years.

And to the left: Peanut once more from “12 Oz Mouse”. “Hmm,” Jacob I. utters again. “The Gaeta V continent is shaped like a peanut. I wonder what *that* might mean? What are the 2 Peanut images — darted, hatted regular and undarted, unhatted cubic versions — discussing here?”

Onward to floor 3…

 

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Boos Interpretation 24

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Almost all of these elements find a match in the second half of the diptych, separately called “Enough”.

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So, collectively, you combine “This Town Ain’t Big” with “Enough” to get the diptych “This Town Ain’t Big Enough.” Simple enough.

Instead of Sherwood Anderson’s tombstone, we find the author himself walking the streets of the village, hat in hand [12/18/15: as an aside here and in reference to the cabin directly behind him, an original name of Hayes’ Mouse Island was Hat Island]. He is also a match for Rutherford B. Hayes, since both famously lived in the same Ohio county of Sandusky. We find the remainder of the blue-green horsie in the sky to his left. One, perhaps two same sized dark horses from the original photo are in the street below it. The rest of Bart Simpson in outline appears on the flat part of the Tungaske tombstone, along with the middle part of sister Lisa. And the rest of Lisa can be found to the left. The siblings are hugging, just like they did in some of the works (example) from the similarly lengthed Gilatona-Lis collage series. And then we have the other half of “The Big Book of Rust” attached to Sherwood Anderson, with another small town author, Edward Swift, perched on top. Toy avatar Taum Sauk looks on once more.

So let’s take it all together again…

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It’s clear now that Bart and Lisa also hug in the center of the diptych, one on each side. This is the uniting of the two parts, fusing “This Town Ain’t Big” with “Enough.” What is missing from one side is usually found in the other. Many images find balancing images on the opposite part. And with this in mind, I believe the cabin with the large chimney in “Enough” I forgot to mention before is meant to be a double to the pentagonal structure in “This Town Ain’t Big”, with the chimney represented by the projecting top of the latter.

So let’s go deeper into the picture. What is “The Big Book of Rust”? Is it the same as Anderson’s “Winesburg, Ohio”? Rutherford B. Hayes, besides appearing in a number of my collages prior to the Boos series, also has seen spot action as a fictional character in the Sunklands blog. There he’s, “the first US president to never be US president”, borrowing a line from Firesign Theatre’s “Everything You Know Is Wrong” album pertaining to Benjamin Franklin. But I go a little further to state that the presidency actually ended with him, and he took the country into an alternate reality about 1880 1874 where a triumvirate of people ruled instead (called the Sandusky Pact), or at least that’s how it started out. He is very diminutive in size (in contrast to reality), or about the same height as Hucka Doobie in “Comparative Heights”. He loves corndogs — here we think back to 12 Oz Mouse’s Fitz being guided by a homing corndog to Roostre that really jumps the show up into another level. And then there’s the crucial line in that show where Roostre later reveals to another character called Spider that he knows Booger Hayes. Booger is the same as Rutherford “Booger” Hayes in my derivative fiction [another aside: the maiden name of president Hayes’ wife “Lemonade Lucy” was *Webb*]. There are actually many other links we can bring in to support the verisimilitude of this Booger Hayes, like the fact that Hays County, Texas contains conjoined 1450′ Lone Man/Lone Woman peaks near its center (Roostrer is stated in the show to know the reasons behind the creation of dual sexed character Man/Woman, collaged into my “2 Fer 1 01”), and, moreover, a historic place named Rooster Springs *and* (formerly) a production company called Rooster Teeth most famous for creating the “Red vs. Blue” machinima series (in Buda).

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These two Hays County “Roosters” apparently have nothing to do with each other. I would propose their strange entanglement points to 12 Oz Mouse’s Roostre instead.

I use to interact with a guy who dominated a former Yahoo board with his vast knowledge and stories about strange entanglements more commonly called synchronicities. He often drew “The Simpsons” into his woven tales; he was a big fan of the show. He lived in this Hays County at the time. We briefly discussed such map related synchroncities as his small hometown of Dripping Springs being first settled by a man named Fawcett, like a dripping or leaking faucet, then. We had some friction, and I regretted that later on. I distinctly remember him describing my first lengthy attempt at collage interpretation (Lime section of “Floydada”) as indecipherable. I’ve felt his spirit at times while working on various synchronicity related art and attached analyses since then. He died from an apparent heart attack in his Marble Falls home several years back.

And of course president Rutherford B. Hayes owned Lake Erie’s corndog shaped Mouse Island, which his 20 Century descendants drove darts (boats) into. Hayes’ Vice President was William Wheeler, seen in Boos collages 12 (and 14) trapped inside the black half of a yin-yang sphere. Hayes was essentially his boss, harking back to the images of Boss Moss (etc.) from early in the series.

Then there’s the cabin to deal with…

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Mouse Island cabin, Lucy to right, R. B. to left.

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LOST island cabin. Who’s in the chair now?

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US Chimneys.

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Boos Interpretation 16

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“Booses”

Collage 22 directly extends and enlarges some of the pictorial elements found in “Can You Be More Pacific?” coming before it. This mainly involves the transposition of the silver fish and hummingbird hovering directly above it there, but also bear in mind that the dart in the letter to the left is suppose to be the same as the several darts stuck in Peanut’s body in that earlier work. And the darts are the same color as the green-blue hummingbird with dart-like beak in the present collage.

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This is all more “12 Oz Mouse” imagery, with the letter opened by Fitz near the beginning of an early episode called “Rooster” and where the whacked out plot line of the show really begins to kick in. As soon as Fitz reads it, he’s hit by a dart, as if his mind manifests the events of the show. And it kind of does (!), since 12 Oz Mouse creator Matt Maiellaro provided the voice of Fitz and begins to “ensoul” the character at this point. Maiellaro, probably best known as the co-creator of cult hit “Aqua Teen Hunger Force” (also frequently mentioned on this blog), illuminates more details of his growing involvement with this newer and even stranger follow-up show here:

http://www.shriekingtree.com/12_oz_Mouse/index.html

[“12 Oz Mouse”] actually started out as a disjointed humor-fest, but maybe only to me. I thought the show might stand alone in episodes, like “Aqua Teen.” As I was finishing the pilot and starting the second episode, I snapped into the serial thing. It somehow made sense that if what we saw didn’t make sense, there should be some sense to it. If I introduce this new character at the end of [episode] one that we know nothing about, then we need to explore who this character is and what he wants [in the next episode]. It was by the end of [episode] two that I started mapping out this grid of characters and figuring out who was bad, who was good, and who might have been bad once but is now still in the middle. Then, even from there, I didn’t quite know where the show was going, but I knew how it was supposed to ultimately end – which is not how we ended it with episode 20.

So “Rooster” is the first episode of “12 Oz Mouse” where Maiellaro has this “grid of characters” mapped out to aid him. An elaborate mystery begins to unfurl, but we also known from his quote above that it will not tie up the way he originally envisioned. More on this “unfinished” aspect of the show later, perhaps. Seemingly at the center is Q109, possibly a federal agency that Fitz and also the episode’s namesake character Roostre were a part of at one time.

I don’t want to go into great detail about what happens in “Rooster” except to mention that a stray, sentient *corndog* originally leads Fitz to Roostre. And I’ll just briefly mention that this connection is shown in Carrcass-1 too. In the troughs of developing that particular audiovisual synchronicity back in 2008, I associate Fitz hit by a dart in “Rooster” with president Rutherford B. Hayes’ grandson driving boats named darts into Mouse Island on the Baker Blinker Blog, a Lake Erie island which the Hayes family still owned into the 20th Century.

http://ohiosyesterdays.blogspot.com/2008/09/on-august-23rd-toledo-antique-and.html

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One of Admiral Webb C. Hayes’ sons off Lake Erie’s Mouse Island in a Dart Boat, ca. 1929
(Hayes Family Album)

And besides being a green oval like both the torso and head of Fitz’s body, doesn’t Mouse Island also look like a *corndog*? I thought so at the time…

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But the clincher is that Roostre later states to a character called Spider that he knows “Booger Hayes” during one of the funniest moments of the whole series. “B. Hayes”, just like Rutherford B. Hayes. The plot thickens.

(to be continued)

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Boos Interpretation 15

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For the twinned collage 21, we return to the miniatures. In “Haunted By Ghosts of Collage Series Past” above, we have “Standing Baker B.”, feet framed in a diagonal of light, staring out a window while “Green Lego-Like Dude” removes his head against the adjacent wall. Below and between them is a large green box with the word “Oblong” written on it at a diagonal, clear reference to my 2007 collage series of that name, and which also contains the same image in at least one of its collages, as I’m recalling.

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Oblong 11: “The Box Oblong”

I’ve long regarded the Oblong series as the best one from the “Art 10×10”, and perhaps my best overall, or most consistent. But it’s hard to say that with the giant 61 collage Falmouth series which has come along in the last 2 years, or even 2013’s Gilatona-Lis. Or even 2015’s Boos (!). All are now larger than any from the “Art 10×10”. And that brings us to the point here. Oblong is composed of 20 collages. I’m already at collage 21 in the Boos series by my counting. Once again, I’m aware of extending myself beyond the old series of the “Art 10×10” in a tangible, measurable way, and Oblong in particular. My collages seem to form faster these days, obviously aided by the energy of the blogs. But I’m also understanding the flow I enter better.

On the other hand, Oblong was created at the peak of audiovisual synch making for me, another type of collage. I guess I can summarize it by this: Am I beyond my peak and not fully aware of it? I don’t think the individual collages are as much enclosed works of art as they were in the “Art 10×10”. And I blame (or praise) the hybrid “Baker Bloch in England” from 2010 for part of that. The Boos series, for example, perhaps owes as much to the latter as the former. What’s the difference, then? Why is “Baker Bloch…” considered a hybrid and not a collage series?

These are very meaningful questions, but I’ll leave their full probing until another day. Safe to say here that I was aware, with a bit of a pang of guilt, that I had once again “gone beyond” Oblong, or “lapped it”. But had I *really*? I’m sure future collage series will help to shed more light on the very important subject of the individuality of any given collage vs. its placement into a greater whole, as in a series. I’d probably add here that I still consider the “Art 10×10”, as a *whole*, the best art I’ve accomplished. I think.

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“Can You Be More Pacific?” is another cute miniature, this time featuring 12 Oz Mouse’s Peanut character again talking or interacting with his “box double”, as he has done on other occasions in my blog. Like in collage 30 from the Falmouth series, a more complex work and also part of a dyptych…

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In the same room with these doubles in the present collage appears a silver-y fish on the floor, apparently dead, and also a hummingbird hovering in the air directly above it. This seems tied into the idea of death (fish) and then resurrection (bird) once more. And I should add that the floor in the next room reminds me of the patterned zig-zag one of David Lynch’s Black Lodge. Could there be a direct relation?

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What of the mysterious red stain on the floor below Peanut? Scene of fowl play? And then there’s a kind of hole like thingie to the left. Also: The Black Lodge is filled to the brim with doubles, including one for Agent Cooper himself. Each good entity is paired with a corresponding evil one. Is Box Peanut the evil twin of Regular Peanut? We must move on, but I do like the way the wall framing the two characters is the same sky blue color as them — even the darker green-blue of its right side precisely matches the hue of the drug darts sticking in Peanut’s back and helmet.

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Evil Dale Cooper, fresh from the Black Lodge and in dire need of a helmet himself.

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