“Heads/Tails?”
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Collage 15
“Grayson (Dis/En)closure”
Some preliminary thoughts on this…
I think this is an *attempt* at healing a painful situation depicted more in full in Collage 13, which contains the same central Jack figure. Here Jack is not as much a facade as in that earlier effort, but an enclosure. His face is not 2d but superimposed with a head that represents a montage of President Eisenhower (of Grayson County) and his representative to the grey aliens, supposedly. I assume the head speaks of aliens, then, and the truth behind them. The rock enclosure may represent a place of safety to do this. Many of the elements from Collage 13 reappear, including the colorful pea pod on Jack’s arm, and also nearby 12 Oz Mouse/Fitz. The Shining’s Wendy is new to the scene, although she appears in the Collage before this (14) and also the earlier Collage 9 (2 Wendys in that case). She’s culled from the famous scene 61, studied by me in some detail in late Dec. and early Jan. Jack and the rock enclosure replace the reclining Danny of that static scene. In Collage 14 before this, Wendy also stares toward Jack at the bottom of the picture — and there are 2 Jacks there, one replacing the head of McCartney and one (to its right) turning around to face Wendy, seemingly. The tiny, walking McCartney and Harrison also are transposed to Collage 15 from Collage 14. And also as in Collage 14, they walk across Jack’s chest/torso. The handshake between Starr and Coburn in Collage 14 may be the thing being spoke about by Ike/Ike’s Representative in Collage 15. Why does Wendy look on and why is she cradling a giant corndog in her arms? This seems to represent a beginning of forgiveness. Acceptance of the corndog in the past. The evaluation is over, and healing must begin before any kind of integration can take place. The Wendy figure must own up to her part of the incident. Behind Jack and the rock enclosure is 2 fused pictorial elements from single movie synchs of the past, as Carrcass-10 represents the newest single movie carrcass, involving The Shining and it alone, in essence. We have Kevin from “Up” superimposed on Howl’s Moving Castle, with 2 eyes becoming 1 eye. Kevin and the castle become fused. They are direct kin to Jack because of the single movie carrcasses involved. Kevin’s body is similarly colored to the red rock of the rock enclosure — a rock temple, really. These rock temples, mid ground and foreground (1 and the same) might represent carrcasses, then, past (Up/Howl’s Moving Castle) and present (The Shining). The past has done its duty; the present still has some stuff to say, apparently. Grayson information. Military industrial complex stuff. The golden, upward path in Collage 13 transforms into the red, downward path or passage in Collage 15. Red is pain. Red is also information, painful in style. There will be an attempt to understand.
February 27, 2014 · 1:16 pm
Collage 13
“This is the Place”
Alright Hucka Doobie. What is *this* about?
Hucka D.:
You used my full name. You *must* be interested.
bb:
Cool. I’ll go ahead and start. The figure in the middle, at its base, is Jack from the movie The Shining. His face has been hollowed out, so to speak, to let a cartoon version of his laughing face peek through, or bleed through. This would include the crazy, spiky green hair, the two asymmetrical bulging eyeballs, and the single tooth gaping mouth. In turn, the crazy mouth is hollowed out to show the field and path beyond. So in a way the Jack figure could be seen as a facade.
Hucka D.:
This is you. You and your job, your responsibilities. This is a perfect mirror. You are trying to reach through to the beyond, the place where you won’t face responsibilities as part of the facade. Challenges lie ahead, yet you already see the end. You have to go through these because Edna has her own set of responsibilities, outside of this. This is on *your* head.
bb:
So the prez is my boss, and also my co-worker.
Hucka D.:
Yes. Similar to the shark in the Falmouth series. Yet you’ve progressed even beyond that. You’ve returned from England, more mature. The shark aspect is more in shadow or outline. *All* look beyond now. A clock is ticking in the distance, yet keeps the same time. 2:23. That is what everyone is headed toward.
bb:
I am also Mouse. The Mouse.
Hucka D.:
Definitely. That is fear. Fear of Shark, in a way. Fear of axing even, perhaps. But it’s two mouths in one. There’s the shark’s mouth overlapped with the man-woman’s mouth. This has to do with beyond the facade, the job, the work.
bb:
This is a gateway collage.
Hucka D.:
Yes.
bb:
The setting is Frank Park, across the road from Bill Mountain but still close. In the background we have a mound. It use to be much larger when Edna and I made that film there. Perhaps I should post the film to Youtube: “This is the place” (title of film, perhaps). (pause). You know in looking at that mound, I think it is the older, larger version, the Tiny Silbury version. I think we see only the top of it from our perspective here.
Hucka D.:
Wyeth’s painting character… stares at it. This is Christina. You should study that painting.
bb:
I will. The fox jumping over the dog is reference to the… let me look up the word from the Nollop post, perhaps. Hold on.
Hucka D.:
Holding.
—–
https://bakerbloch.wordpress.com/2014/01/29/chat-3/
So it refers to the *pangram*, “The quick brown fox jumps over the lazy dog.” This is that fox, that dog. The fox jumps again. The dog lazes (in front of the mound). And it’s all in that speaking balloon. This is what Jack says.
Hucka D.:
And what shark says and what man-woman says. They all say the same thing. All are headed toward 2:23.
bb:
The corndog reappears from the Falmouth series as well. Shark hates corndogs. Corndogs are a symbol of laziness?
Hucka D.:
In part. Think bigger picture. What is the role of the corndog in the days beyond?
bb:
It’s still not too far from Jack’s hand. It’s there still. Lying in the middle of the path before Jack. Ready to be partaken of.
Hucka D.:
President Rutherford “Booger” Hayes then plays a role. He was last seen in this here blog eating corndogs, I believe.
bb:
Could be. Project Big Chimney.
Hucka D.:
Think about that project again.
Shark is not a bad shark. It is saying, think of the beyond. The quick brown fox jumping over the lazy dog. This is your challenge. You are *both* the fox and the dog. This is your decision point. The two tendancies, action and nonaction, oppose each other. This is your job and your not-job, one fitted inside the other.
bb:
And the mound between them.
Hucka D.:
This is the mound of the future. All gaze and ponder upon it. This is the place. No one has all the answers now, not you, not the boss, not the co-workers.
—–
bb:
Oh, and then the pea pod in the front of the collage, subbing for Jack’s left arm, is another reference to the Dunn novel “Ella Minnow Pea”. A pea pod is on the cover of the novel. This is the same pea pod that Baker Bloch found underneath the weathered bench at one end of Baker’s Isle in Second Lyfe — *his* Baker’s Island.
Hucka D.:
Yes. Further identifying you, baker b., with the central Jack figure here. This is LMNOP.
bb:
This is tiling.
Hucka D.:
Yes.
The island’s high council becomes more and more nonsensical as time progresses and the alphabet diminishes, promoting Nollop to divine status. Uncompromising in their enforcement of Nollop’s “divine will”, they offer only one hope to the frustrated islanders: to disprove Nollop’s omniscience by finding a pangram of 32 letters (in contrast to Nollop’s 35, or just 33 in the version “A quick brown…”). With this goal in mind “Enterprise 32″ is started, a project involving many of the novel’s main characters. With but five characters left (L, M, N, O, and P), the elusive phrase is eventually discovered by Ella in one of her father’s earlier letters:
February 11, 2014 · 3:50 pm
Red Rock (Collage 12)
bb:
Very bizarre seeming, Hucka D. I don’t like the blood splatter.
Hucka D.:
Neither do they (!). The splatter stands for the red rock and the pointy stick beside it. The rock is blood, true. True Blood.
bb:
Is it simply the noise that bothered them?
Hucka D.:
No. They want to…
bb:
Communicate.
Hucka D.:
Yes. All Seeing Eye. Colorado. Seal. Highlighted Snoopy Nose, like in Shot 61, I believe you’ve numbered it.
bb:
Numbered by someone else.
Hucka D.:
That shot was influenced by The Bills directly.
bb:
Interesting.
Hucka D.:
It is (!) How did they do that?
bb:
Let’s see: *noise* was highlighted by visuals in that shot.
Hucka D.:
Correct, good. Dog. Good dog.
bb:
So The Bill are trying to tell me through this that they did those mistakes in 61.
Hucka D.:
61 is highlighted elsewhere. Rat, for example. And Andromeda[ Strain].
—–
12:06pm:
bb:
So back to the collage (now finished, I believe). The hand is an alien one, seeming to emerge from the rhododendron to deposit the namesake red rock on the ice bank. Red is also on the hand in the form of (fake) blood, as in a movie. The collaged hand is that of not Jack Nicholson’s, as you would imagine if you knew the related scene from The Shining, but Stanley Kubrick’s himself. This is the broad scene…
http://en.wikipedia.org/wiki/The_Shining_%28film%29
Danny writes “REDЯUM” in lipstick on the bathroom door. When Wendy sees this in the bedroom mirror, the letters spell out “MURDƎЯ”. Jack begins to chop through the door leading to his family’s living quarters with a fire axe. Wendy frantically sends Danny out through the bathroom window, but it will not open sufficiently for her to fit through it herself. Jack then starts chopping through the bathroom door as Wendy screams in horror. He leers through the hole he has made, shouting “Here’s Johnny!”, but backs off after Wendy slashes his hand with a butcher knife.
Hearing the engine of the snowcat Hallorann has borrowed to get up the mountain, Jack leaves the room.
… and this is the part about it being Kubrick’s hand that reaches through the door, and from a specific source…
http://www.davidicke.com/forum/showthread.php?t=205856&page=47
After Wendy Torrence has managed to get Danny out of the window, her husband breaches the Bathroom Door and removes the panel closest to the door-handle. After some theatrics, he reaches into the Bathroom to try and turn the key to the Door. Wendy Torrence strikes his Hand with her knife – and his Hand is left with a fairly sizable slash mark. Given the significance of what I have recently described in relation to this Bathroom Scene, it is appropriate to note that the Hand we see entering the gap in the Bathroom Door does not belong to Jack Nicholson, it is actually Stanley Kubrick’s. This point was raised in one of the ‘Makings Of’ “The Shining” – the speaker citing the rationale that ‘he just wanted to do it himself for some reason’. I believe the reason he chose to use his own Hand has been clearly explained by the details in Key 6. His own personal appearance in this scene might be the last known instance of him appearing in one of his films. The only other instance I know of occurred twenty years prior to “The Shining”, when it’s believed he made a brief appearance in Lolita, disguised as Humbert, crossing the threshold into Clare Quilty’s mansion. As far as I know these are the only two occasions when Stanley Kubrick ‘put himself in the picture’.
Hucka D.:
The hand is then alien to the actors in the film — it’s the maker of the film’s instead. And this is the same for the situation in Frank Park. It’s the maker of the park. True.
bb:
Hmmm (again).
Hucka D.:
Do you not believe me?
bb:
Not sure, Hucka. Can you explain more?
Hucka D.:
The park — parks — are a virtual reality, just like a film. The “director” reaching through and displaying his own hand for those that know is a telling sign. Just like in The Shining for Kubrick’s hand, as your mata has guessed. He knows more than he’s letting on( however).
bb:
Let’s see… the red rock is like the splattered blood from the suddenly slashed or cut hand. It’s not a deep wound on the hand in the movie. The splatter even seems to make a meaningful pattern, and I’ve directly transferred this splatter into the collage. Lucy from Peanuts pulls a football away from Charlie Brown, making him fall down. But in the collage, Charlie is missing, although his “air trail” is still mainly present. In depositing the red rock on the bank, the hand risked exposure, and is slashed.
Hucka D.:
The rock *is* the slash.
bb (looking again):
Okay, thinking more down to earth, I could have slipped on that ice on the bridge, just as Charlie Brown (missing) did when Lucy yanked the football away. So it’s me that could have slipped and been hurt. Not slashed probably but still hurt.
Hucka D.:
Yes. But probably not as well.
bb:
Okay… the slip is a *reverse* of the blood splatter. It *slips back* onto the hand.
Hucka D.:
Correct (?)
bb:
In the collage, nothing is hurt, is injured. The injury is reversed back onto the hand. The “director’s” hand then retreats back through the broken door panel — unharmed. The All Seeing Eye is probably that of the same entity. As Kubrick probably created the film mistake over Snoopy’s nose, so we have the same type of effect in Collage 12 here.
Hucka D.:
The title is “Rats!”.
bb:
Thanks for that. Snoopy’s image comes directly from the Peanuts curtain in shot 61 — the same kind of curtain, I mean (and not a direct cull from that scene). Next might be the separation and categorization of black and white rocks. Black and white and then red all over. Red Rock.
Hucka D.:
Correction. The title is “Red Rock”. Sorry.
bb:
That’s okay. “Rats!” may be used later.
Hucka D.:
Apologies once more.
bb:
It’s okay; don’t worry( about it).
Hucka D.:
Black and white rocks next, then!
(12:23: larger ring effect on Peanuts curtain drape as dr. closes case; Snoopy’s nose highlighted)
February 10, 2014 · 3:12 pm
Shining Pepper Project 02
Images from the 1921 photograph ending The Shining (“Shiny Happy People”) sub for the following Pepper people:
http://math.mercyhurst.edu/~griff/sgtpepper/people.html
1. Burroughs, William S.
2. Monroe, Marilyn/ Livingston, David
3. Crane, Stephen/ Hand
4. Bell, Larry
5. Weissmuller, Johnny
6. Bonn, Issy
7. Lennon, John
8. Starr, Ringo
9. McCartney, Paul
10. Harrison, George
—–
And in this fascinating series of posts from the “Nothing is Real: Paul was Replaced” board, we again have mention of the 3rd eye, like the William S. Burroughs sub prominently displays in a Shining crossfade, as discussed before. A good, added theory coming from my direction is that Burroughs *transfers* his own *hidden* 3rd eye to two, specific Pepper images that jarface indicates. This is a direct transference from Kubrick to The Beatles…
http://invanddis.proboards.com/thread/5758?page=1
Now it is time for me to show you the treasure. Going back to Poe’s Goldbug:
…shoot from the left eye of the death’s head…a bee-line from the tree through the shot…
In the story, a golden beetle is dropped from the dead pirate’s eye. Consider the fact that gold is yellow matter and sailors are called dogs, and you can now make perfect sense of the lyric from I Am the Walrus that says:
Yellow matter…dripping from a dead dog’s eye
If you have not figured it out already, I Am the Walrus is all about Sgt. Pepper. Several lines from the song refer to people who appear on the cover. The pornographic priestess who let her knickers down is none other than Marilyn Monroe, who was the first ever Playboy centerfold. Mister city policeman is Sir Robert Peel, who is known as the father of city policing, and who founded Scotland Yard. He is sitting pretty, little policeman, in row two.
But I digress. The picture below shows the shot from the left eye of the death’s head (played by Paul) in yellow. It shows the “B” line going “through the shot” directly over Paul’s heart. We further see that the only visible piece of “treasure” on the cover, i.e. the trophy, points directly to the same spot over Paul’s heart. Clearly we have found the location of the treasure:
Finding the location of the treasure is not enough. In Poe’s story the hero William Legrand had to dig for his treasure; we must dig for our treasure too. It is obvious that we can not physically dig, so in the spirit of parody we must search for another meaning for the word dig…and we do not have to look far to find that meaning. When we follow the line from the trophy through Paul’s heart we discover that it points to William S. Burroughs. His name sounds like ‘burrows,’ which of course means to dig a hole. In the story, our hero William Legrand burrows for his treasure.
William burrows. William Burroughs. Wicked clever Beatles!
The above example seems to indicate that we “dig” by finding pairs of related objects that lie on opposite sides of Paul’s heart.
Here are two related objects that stand out. The stone bust has a prominent bulge that marks the location of its “third eye,” and Carl Jung has a prominent shadow on his forehead, made by the bridge of his upraised glasses, that marks the location of his third eye:
When we draw a line from Jung’s third eye to the stone busts’ third eye we see that the line passes directly through Paul’s heart:
These final 2 images seem to summarize jarface’s theories. The 2 “3rd eyes” of Jung and the statue he’s pointed out lie equidistant from Paul’s identified heart, and imply a tilted rectangle which meshes perfectly, somehow, with the circle defined by the drum to produce an overlay hexagon and star. Quite remarkable!
http://invanddis.proboards.com/thread/5758?page=2
February 4, 2014 · 1:47 pm
Gray (S)adler 04
There are a number of other very interesting towns around Red Cross besides nearby Level Cross already discussed in “Gray (S)adler 03.” Note first that Red Cross is near Climax, just over the northern Randolph County line in Guilford, and also lies within the Climax topographic map. Julian also seems meaningful, but I’ll have to get back to that if so. And then we have both a Grays Chapel and a Whites Chapel not far south of Red Cross (!). Lineberry (Linberry?) may reinforce, for us, the 2 needed lines to form a cross. Then there’s Melanchton a couple of miles to Red Cross’ southwest, the only US population place that begins with the letters “melanch”, like “melancholia”. I pretty strongly believe, however impossible it seems once more, that this is referring to Durer’s very famous 16th Century print “Melencholia I”, the first of a series planned on the subject of melancholia in general according to some sources. For now, I’ll say it has to do with the 4×4 Magic Square of the picture — I’ll study more about the print this weekend.
The topographic maps covering Randolph County could be a reinterpretation of the 4×4 square given the presence of MELACHton within (Grays Chapel topo map).
A 4×4 square appears above the CH O KING poster. In the movie, I believe Kubrick wants an association to be made between it and the 4 washers in the neighboring room, as already discussed as well in “Gray (S)adler 03”. I now think it can also be associated with Randolph County, NC, even though this is something that Kubrick in all likelihood *didn’t* plan. We have wandered off his map, if so.
The position of Red Cross is marked with a red cross. If The Shining’s 4×4 paper and Randolph County’s topo maps are aligned this way, the 2 “red crosses” are basically directly north and south of each other. The folded back corner of one the pieces of the “map” indicates the position of Red Cross, and also Level Cross directly above it, in turn (again if we turn the map sideways).
Some more on Randolph County:
http://en.wikipedia.org/wiki/Randolph_County,_North_Carolina
Randolph County is located in the center of North Carolina & the city of Asheboro (located in Randolph County) is the center point of North Carolina.
In 1911, a new county called Piedmont County was proposed, with High Point as its county seat, to be created from Guilford, Davidson and Randolph Counties. Many people appeared at the Guilford County courthouse to oppose the plan, vowing to go to the state legislature to protest. The state legislature voted down the plan in February 1911.[7][8]
Durer’s “Melancolia I” and its well known 4×4 square, also called the Magic Square of Jupiter:
http://en.wikipedia.org/wiki/Melencolia_I
Even if he didn’t plan it, don’t you think Kubrick would like the alignment of 2 maps called Climax and Erect on either side of Randolph County?!
X marks the spot again.
(Continued in)
January 24, 2014 · 3:12 pm
Sunklands 