Baker Blinker Blog Book II: Pre-Jeogeot II 04b (Jan/Feb 2009 02 of 02)


“And The Secret Words Is…”

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“Alright Hucka D., let’s get to it.”

Hucka D.:

Ok, then: “Ant” is a leftover “word” from “Willows Diamond”, the preceding collage [in the Wheeler series]. That’s the “secret” word, then. Or secret world, perhaps. But what is “Ant”? In one way, it’s your friend Anthony…

bb:

Yeah, but I don’t think we should say his actual name.

Hucka D.:

Believe me, he’ll never read this. He’s got too much on his plate already. And that’s one of the points of this collage. You’ll never really hear from him again… until perhaps much later in life, when he’s more at the stage you are currently. Don’t worry about it… that’s part of the meaning. A lot of it.

bb:

Thanks for that. A lot of this, then, is about the inability to keep male friends as I get older. Or, really, when I was younger as well. It’s something that’s been hit home recently, especially. On the other hand, I get along strikingly well with all my women friends.

Hucka D.:

Women are generally wiser, that’s why. You are wise if not really wise. You are wise enough. Women are wiser than men, in general. Older in spirit.

bb:

Interesting reason. A lot of it is competition, which I don’t think comes from mainly my end any more.

Hucka D.:

All you are looking for is respect, which you deserve. You’ve worked hard, but that’s not the point. You are on a path. “And the Secret Word Is…” is part of that path, along that path. A true friend should ask you about what you’re doing creatively, for that’s a very large part of you. Otherwise, they really can’t be your friend. You have to have that creative connection. You can give, but you also have to receive. Since your line of work has little to do with your true interests, then that’s also an additional barrier for many people.

bb:

All my co-worker male “friends” are either considerably older or considerably younger than myself.

Hucka D.:

You must talk about these things. The blog is for that as well.

bb:

I think this collage does represent “another world”, like Anthony has his other world that he has to deal with now. Separate from mine. And that’s ok. But it’s not true friendship.

Hucka D.:

No. You must recognize that. Establishing someone as the “golden boy” because they helped you at a difficult time in your job is not the same as forging them into a lifetime friend. The forging has to be mutual. So you must look to who you really have. And that’s working out really well, isn’t it? It’s like everything, everyone, baker b. You have to self edit in life. The things that mark you stay with you. You don’t loose people, really. They stay with you. But you must also let go in the present moment. This collage animation you’ve just created is 2 worlds, two separate things that once were more one thing.

bb:

This is also, a bit, about Headburro Antfarm, perhaps my closest compatriot in Second Life, even though I never see the guy inworld.

Hucka D.:

It’s the blogs that unite you more. And also exploration of this quite fascinating virtual reality; you both are constantly amazed. And the tie-in with the Forest of Kahruvel, where you both are sort of “from”. As well as me, for that matter. Rodeo.

bb:

That’s yet another world.

Hucka D.:

Anthony did not want to know about SL, even though he knew you were really into it. That’s where he draws a line, because it doesn’t suit his own needs in education, and because his own compatriots do not agree with its premise of non-restriction. But this is what the subconscious really is, baker b. All this smut and sex and porn… there’s that, and also the really, really creative stuff going on. And there’s even overlaps between the two, if you want to get technical. That’s what your Ant. doesn’t like, like he didn’t care for the lesbian love scene in Mulholland Drive.

bb:

I thought it was very realistic.

Hucka D.:

Ant. is confused. We all self edit, you see. He edited out, in your talk at the coffee shop, your announcement that your closest compatriot in SL is half *ant*elope, half man. He literally cut you off at that point.

bb:

Yeah. He didn’t mean to. I’m sure I cut him off at times.

Hucka D.:

But it was a synchronistic moment, a telling moment. And it translates directly into this new collage, if you will notice.

bb:

Anthony *becomes* the Ant.

Hucka D.”

Right.

bb:

Let’s move on to other aspects of the collage… perhaps getting back to that particular subject later on. What amazed me about this collage is that the curtain or drape appears again in the background with the walking stick insect. Anther insect, like “Ant”, or “Ants”,and positioned just to the left of this blocked word in the collage. One of his legs also directly points to this central word.

Hucka D.:

But is the secret word — or world — “Ant” or “Ants”?

bb:

I guess it could be two Ants, since Anthony and Headburro Antfarm are involved.

Hucka D.:

Ant. is scared of synchronicity.

bb:

Yeah. A leg on the opposite side of the walking stick’s frame seems to project behind the see-through curtain. There’s an “A” just to the curtain’s left, in turn.

I should add here that the word “Ant” does not appear *causally* because I wanted to point out the Antfarm-Anthony overlap previously discussed. No, it is just the 3 letters leftover from the previous collage, formerly in the word “Restaurant”. The word “Ant” here is cued to the end of the “Resta” in the former collage.
The two remaining letters of “restaurant” also appear in Willows Diamond: “Ur”. All rest on that top line of the collage, where the background mossman also stands upon.

Hucka D.:

I think the two different mossmen represent the two different worlds in question, one you and one the “Ants”. Yeah, the overall synchronicity of the picture must be emphasized. You didn’t plan any of this… consciously. And the unconscious aspect physically manifested in, for example, the sign you found in a search for “The Diamonds” plus “Missouri”, that isolated the word “Ant” from a “Resaur*ant*” sign. That was before you started either of these collages.

bb:

The camera seems to represent a bridge between the two mossmen.

Hucka D.:

You take pictures of people and remember them that way. You *project* onto people and remember them that way as well. Turn them “golden”. You must extract the projection.

bb:

I was going to talk about the curtain, and the rather bizarre *synchronicity* with the almost same sized and same designed sign from “Willows Diamond”, one perpendicular in relation to the other. When you create the animation*, you can particularly see it.

Hucka D.:

The curtain is in front of the mossman’s head in the 2nd collage, while the twinned sign is behind the same mossman’s head in the 1st. We’re of course talking about the foreground mossman in this case. And also this image, the curtain that is, first appears in the 4th collages of the Wheeler series, just before “Willows Diamond”. This would be “Edward(ston) Station ((Gallery))” [ESG]. There a doctored face of one of the Beatles — Paul and not George, as you originally thought — emerges from behind the curtain. Is this the real face of the mossman in the second picture? Is his head facing the viewer now instead of away from it, as it was in “Willow Diamond”? Is that why it must remain behind the curtain? Is it too unbelievable to see?

bb:

Like synchronicity must be kept behind the curtain, sometimes. The concept of, that is.

Hucka D.:

The walking stick unites, like the walking path unites galleries on either side in your Yapland, like your Edwardston Station Gallery and the Ornaglpyhics gallery. You should study that art more, then.

bb:

Hold on, Hucka D. I’m going to go ahead and pull that collage up in a window as well and study further…

[baker b. pulls up collage image, as he said]

bb:

Ok Hucka D., I’m just going to leave that in a separate window, like the rest. Let’s move to the haystack in the front, then. Obviously this is another symbol of Seathwaite Fell, as it is strongly associated with Haystack Butte [Montana]and also the Lake District’s Haystacks in the Oblong collage series, also a part of my art 10×10 like the current Wheeler series.

Hucka D.:

Obvious.

bb:

Yet here the walking stick seems to merge with a stick protruding from the top of the haystack. There’s also the fact that the haystack kind of mirrors both the texture and color, to some extent — a rather obvious association can be drawn, at any rate — of the two purple trunked palm trees at the top of the collage.

Hucka D.:

The stick comes out of the hay. Both of ’em.

bb:

“And the Special Word Is…” seems to represent relative chaos in comparison to the order depicted in “Willows Diamond”. This is seen in the word “Diamond”, for instance. The blocked word DIAMOND is all in a line in the former collage. Here the same blocks — from the sign of “The Diamonds” restaurant in Missouri — are scattered across the left top of the collage. The beginning letter of the orderly DIAMOND, D, is kept in the second collage as if to emphasize the contrast. Newton and Jasper?

Hucka D.:

Right. Control and chaos. Two sides of reality.

bb:

To back up just a bit, I shoudl also add that the stick poking out of the top of the haystack protrudes through the willows’ diamond more clearly depicted in that part of the shared backdrop in “Willows Diamond”. This represents Seathwaite Fell itself.

Hucka D.:

More than that.

bb:

Ok, I’ll think about that. To close, perhaps, I should also mention that the palm tree(s) of “And The Secret Word Is…” and the willow tree(s) of the twin collage “Willows Diamond” both appear together in the first collage of the Wheeler series, “Benwheelerworld”. At the time, we speculated that they must, together, represent the new gallery in Stephen itself, directly resonating with the newly planted willow and palm trees there, directly in line with each other north to south, and in the center of the front of the gallery as well. Does this, again, relate to the gallery?

Hucka D.:

We better end.

bb:

Thank you.

* to create the animation yourself, pull up “Willows Diamond” and “And The Secret Word Is…” in separate windows and toggle back and forth between them.


“Stranger Than Strange”

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“Collage producing’s really starting to heat up Hucka D. I guess this same thing happened in the Hidlago series: around the middle the pace started to pick up.”

Hucka D.:

You have to relearn the art each series. That’s tough. But the correct way to proceed.

bb:

I saw especially my newest collages in a new way today, Hucka. As *funny*. Without any seriousness. Especially the last one I have a draft for, this “Stranger Than Strange.”

Hucka D.:

As Edna indicated, your works are both serious and funny at once.

bb:

Now it was this Stranger Creek Blog that I’ve actually added to my blog roll here which shed this new light on the collages. And, perhaps, our talking about them is also funny?

Hucka D.:

Yes. Ha ha.

bb:

I wonder if this is how Ant. saw them?

Hucka D.:

He probably didn’t see the meaning, or understand why you were doing them. I would venture to say, though, that this is the first *serious* art you’ve actually accomplished. It’s taken quite a bit of your time to do. Not a one hit wonder.

bb:

The 10×10 structure has kept me relatively focused.

Hucka D.:

The connections behind your art are becoming, um, stranger. Stranger than strange, then. Stranger. Anagram to Stanger still, though.

bb:

I don’t think I’m going to create an adequate interpretation tonight, Hucka D. I mean, “we” won’t.

Hucka D.:

Let’s give it a shot, though. Stranger Creek. This is an actual location in Kansas. But as you know now, there’s no town called Stranger Creek, despite the claims of the blog of the same name. You, however, didn’t pick the location because of the blog. You only learned about that afterwards. You only picked Stranger Creek because you forgot you were actually wanting to look up *Strange* Creek, which, for a while now, has been connected to The Residents, and I’m talking about the rock group now.

bb:

Classic rock I might add.

Hucka D.:

You first found these cliffs on Stranger Creek through another web site. But basically the same view of the creek is recorded in the photo fronting the greeting page of the Stranger Creek blog. You need to study that further.

bb:

This is obviously related to, especially perhaps, the 4th collage of the Wheeler series, or “ESG”. We have the SL photograph of The Resident in a neighboring gallery again, but this time all the faces have been either edited out or, in one case, replaced by another face altogether.

Hucka D.:

But you still have a Resident, because you have an eyeball topped head in a suit still, in the far right, lower corner. He is holding a kitchen sink, which we know comes from the Lake District once more, Rosethwaite in particular. It layed or perhaps still lays in a grassy field there. You must go. But out of the sink rises the Edwardston Station Gallery sign, or the top part, just as it was pictured in “ESG”. If you look closely, however, the eyeball seems more attached to the sign than to the suited body… there’s a gap. Then on the other side of the sign — left to the viewer — we have what’s called Wet Rock. There are 3 versions of Wet Rock found in this collage, just as in “Haystacks Hanging” from the Oblong series. So, what do you think baker b.? I think this is you and your gallery. The gallery and, especially, the new art within, from the new Wheeler series, such as the current collage “Stranger Than Strange”, rises up from a base of synchronicity — sink. What we’re talking about right here and right now.

bb:

I think it means *I* think that the Ornaglyph gallery is currently better than my own.

Hucka D.:

It is. As far as galleries go. As far as the advancement of a consistent style goes.

bb:

But the owner has turned into a Resident image. Not the Paul figure emerging from behind the curtain in “ESG” but from a more advanced album itself. Their most advanced album in many ways. This is the red face placed atop the similarly red face of the owner. I think it’s the owner anyway.

Hucka D.:

Red like Satan beside him or her, then. What does *that* mean?

bb:

It has to be a bit of a joke. You have the hand coming out from between the two hoofed feet. The Devil is sewing, and with a Wilson Wheeler sewing machine, like the ones in the second collage of the series, “Wilsonia Driver”.

Hucka D.:

Why don’t you pull that collage up, then, and stare at it. We’ll stare at it together.

(pause as bb pulls up said collage)

bb:

I’m not sure if I see any more connections between the two collages.

Hucka D.:

The grass, though. Both sew on “grass”.

bb:

I believe that’s a carpet in “Stranger Than Strange”.

Hucka D.:

Carpet of grass. Wilsonia. Carpet. Plants.

bb:

Interesting point, because Wilsonia backhousei grows into a carpet-like cover. Actually in looking it up it’s called a matforming subshrub. Mat instead of carpet.

Hucka D.:

Stitching together time. Making backwards forwards and visa versa. Wheeler-Wilson.

bb:

Maybe Satan here represents the Golden Dodder, trying to strangle out the Wilsonia backhousei again like in this former collage. Yes, in re-reading our interpretation of that earlier collage, Hucka D., I think Satan here is the strangling golden dodder. Strangling Wilsonia, the Green. Sewing and weaving it’s lethal magic.

Hucka D.:

Fabricated…

bb:

Like the Stranger Creek town itself in the blog. Fabric. Fabricated fabric.

Hucka D.:

The red faced woman is not really the gallery owner across from you now. She has been transformed into another fictional device, through the visiting Resident, which is now *you*. You are carrying your gallery in a sink like someone would carry a plant into an office he’s just moved into. Sometimes people make planters out of kitchen sinks, even. You have planted yourself in Yapland. Moved in beside the older gallery here. You can look in, *listen* in, to the older gallery any time you wish. Listen, look, learn. It’s a, “don’t notice me I’m just setting up my desk” kind of situation, but people do notice. They notice, they worry, then they move on to their own concerns. That’s one interpretation. But the red faced woman on the mat, um, green carpet is not really the gallery owner across the way any longer. She has become a reflection of the red Satan beside her now. She has become the strangler herself of Wilsonia. She holds a dead fish on her lap.

bb:

Several of the pictures elements of “Stranger Than Strange” 1st show up in the 10×10 in this collage from the Greenup series, called “One Pink.” We have the suited eyeball fellow again. We have the dead fish and also the bird sculpture. I suppose that’s it.

Hucka D.:

Why don’t you finish this collage tomorrow, study up on that Greenup collage in Floydada, perhaps, and we’ll chat more tomorrow.

bb:

Thank you.


Half Hitch Island, 1

My apologies for once again getting behind in generating text for my travelog style posts. I’ve tried to catch up with all the Otherland related hikes and also the gallery oriented posts, but other subject groups have suffered, such as the Blake Sea set (the main subject of this post) and also new mainland hikes in the general Healy region mainly by Wilsonia, which have now spread out to the large snow covered areas to the west.

This is largely due to my focus on the Wheeler collage series, which takes a considerable amount of creative and psychic involvement to keep genearting the pieces one by one. As the Wheeler series will most likely spill directly into the Jasper series, to complete the 10×10, this condition is likely to last at least until mid-March. I especially didn’t think the Blake Sea related posts could wait any longer. Suffice to say that I’ll probably put off a larger exploration of the Otherland archipelago until the Spring.

But until the text comes along, here are my snapshots from the new Blake Sea area, once more, this time from the island closest to what I’ve called “Far East” in the Nautilus City related posts in this blog. Certainly Far East no longer, though! Enjoy.

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Half Hitch Island, 2

TEXT SOON.

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Loose Thoughts… (Chatting?)

Am now up to collage #8 in the Wheeler series. Only 3 to go (8, 9, 10, with 10 making an animation with #1). I’ve already made space in the Healy gallery for the rest.

Think I’ve come to the conclusion that the most valuable chunk of the Stranger Creek Blog, to me at least (it’s all quite excellent writing), is what are called the Ghost River posts, which speak more of the history behind this “fictional” Stranger Creek community. I put fictional in quotes here because the blog actually gives reasons why the town no longer appears on the Kansas map. So I’ll probably read more on those tonight when I finish this post.

Let’s bring in Hucka D. to see what he has to say tonight. Hucka?

Hucka D.:

White. Mountain. Red, green, blue make white. You have to not look at it to ascend. Wilsonia is involved in White now as well. Mountain, white, Wilsonia. She is fascinated by the snow. She misses the snow of Otherland.

bb:

Probably not many other residents of the island do, though. I might be one of them, although I wish I’d gotten to enjoy it a little more than I did.

Hucka D.:

You are finally leaving the psychic space of the Nautilus City/Island, with the energy moving now into the adjacent Blake Sea. Things are different now, though. You don’t have time to fully chronicle now. Your picture posts must be like isolated islands now themselves. White. Mountain. Islands. Inaccessible. Walk backwards toward them.

bb:

It sounds like White Mountain has become all important and all encompassing, Hucka D.

Hucka D.:

S.F.

bb:

Is S.F. the same as White Mountain?

Hucka D.:

Read. Enjoy. Think.

bb:

Thank you.

*****

“Just a note, Hucka D., that I might want to put a stilt walker in the next collage. Wilsonia passed a stilt walker in the snow region of Sansara last night. And it’s again mention in the first Ghost River post.”


Loose Thoughts…

Hucka D.:

The word for tonight is: Hidalgo.

bb:

The Rodeo portal?

Hucka D.:

Yes. (pause) And: Jasper.

bb:

Jasper is up next.

Hucka D.:

Yes. 10 of 10 to complete. Outer wall.

bb:

Is my involvement with SL coming to a close?

Hucka D.:

Yes. And no.

bb:

Wilsonia is roaming the snow country. After that: not a lot left. Blake Sea is interesting but the island nearest what I called Far East is the most so. Newer continents: not as interesting as the old ones in general, except when virgin land comes along, like Nautilus City Island.

Hucka D.:

What about Otherland?

bb:

Otherland is on the edge of the world. Sitting halfway toward OpenSim already.

Hucka D.:

You are being dragged out of this world, then, you believe?

bb:

It would be interesting to create a machinima about Otherland. Or perhaps Sansara + Atoll Continent.

Hucka D.:

Maybe you just need to give up the Otherland land. That’s always going to be in the back of your mind. And that comes back, as well, to TILE. Temple of. That can, though, be fulfilled in OpenSim.

bb:

If I’m going to eventually give up the Otherland property I’m going to play around with it first. Create a whole new skybox. But probably not until after the Jasper series is done, and, with it, the whole 10×10.

Hucka D.:

Eliminate the East Wing for a bit, the part with the collages mostly already in the Healy gallery. Put pipes back in. Make a new kind of art.

bb:

Leaving the Temple of TILE intact. Eh, I’m not sure I want to do that Hucka D.

Hucka D.:

The Temple and Gallery are perfect as they are, you think. When you complete the Wheeler-Jasper series, I mean. And you could be right. If so, we need to verify the validity of TILE. It comes down to the Oz/Floyd Paradox, and the endpoints of Dark Side of the Rainbow and SID’s 1st Oz. TILE comes from that. Also Tyle.

bb:

I need to deal with these issues when preparing and creating the Jasper series. Don’t I?

Hucka D.:

You are sealing something up, but new collages will emerge beyond the 10×10. New series. CHRO, for instance. Also other systems. You need a gallery to display these new works in. You will keep a virtual gallery now. You will keep your SL galleries until a suitable replacement comes along. May be OpenSim, may be something else. You must also develop web sites; think of self publication. You have a lot to work on. But the art 10×10 comes first right now.

bb:

It’s obvious I was suppose to move to Otherland and build perhaps the final version of the gallery and temple there.

Hucka D.:

One and the same now. Good work.

bb:

And also the move to Healy was predestined, I feel.

*****

Hucka D.:

So you’ve moved back to Sansara in a manner. Well, just enjoy it. Wilsonia certainly seems to be having fun playing in the snow [country]. Do it to relax. After all, you gave up cable for this. SL is essentially your new cable tv.

bb:

Suppose so. Like an addiction to a game.

Hucka D.:

New lands will open up. You need to be there. Summer will be easier for you. RS7, though…

bb:

Difficult to look beyond the 10×10 right now.

Hucka D.:

You have your writing 10×10 already. That’s a publication… self, unfortunately… or fortunately. Then Paradox between the writing 10×10 and art 10×10. Backing all of this up is the vast TILE table, beginning with Dark Side of the Rainbow and also Dark Side of the Yellow Submarine. Very simple works back then. Very.

bb:

Let’s see. Those old sites, beginning with The Ultimate Pink Floyd Synchronicities, are not publishable. Like the Film/Album Synchronicity Board itself, it is disposable.

Hucka D.:

You got the middle chunk of your writing 10×10 out of it.

bb:

The SID related interview of Booker T. by me, baker b., seems separate from all this, then. There’s also Paradox III, which was never completed.

Hucka D.:

Complete it through this blog.

bb:

I need to do a second part of that interview sometime.

Hucka D.:

baker b., this time you must include Dark Side of the Rainbow and the Rainbow Complex as a whole. You must merge the Booker T. Archive with the SID’s 1st Oz interview of Booker T. A third Booker work, then. That is obvious. That is also related to TILE/Tyle.

bb:

I must keep the gallery and temple together, mustn’t I?

Hucka D.:

Yes. It has been a physical evolution toward an endpoint. First you had B_Hivia, then the Temple of TILE, and then the Edwardston Station Gallery, all in Gliese. 3 in 1, now, though. All of these have been merged, first in a slightly too large version (also on Azure Islands — the Ubertemple, I mean), and then in the right sized version of Otherland. You can’t give that up just yet. If you give it up in Otherland, you’ll just have to re-create it somewhere else. I don’t think a move back to the mainlands in the form of buying property is a good idea now. Rent.

*****

bb:

I wish to speak more of RS7. Winesap.

Hucka D.:

(no answer)


“Omaha & Specific”

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“We’re rolling along now, having finished up #8 Hucka D.”

Hucka D.:

You had to move quickly, it seems, to resolve the bad taste of that last one. You have the angel of death in the center, the greenish, hooded statue. She is holding a giant magnifying glass whose lens is replaced by a flying red parrot. The giant, inverted — color-wise — parrot to this parrot is to the left of the angel of death. Unlike the former, it has no head, which has been replaced by a square window with the face of a man holding a flower within. The two parrots, headless and headed, face each other over the top of the angel of death’s head.

bb:

The man in the window supposedly represents a demon, Hucka D.

Hucka D.:

I think he was referred to as a daimon in the blog. As one of the definitions of a daimon is a guiding spirit, this may not be an evil personage, then.

bb:

He *is* holding a flower.

Hucka D.:

All of the picture elements we’ve been talking about, along with the snow covered statue more in the foreground, are new to the Wheeler series.

bb:

I believe the snow covered statue represents the missing child who has passed into the death realm, Hucka D. Or the equivalent thereof, at least to our watching eyes.

Hucka D.:

I would agree. But I also think the red parrot over her head represents a different type of life that has replaced the first life. What did the blog say? That Stranger Creek had moved off its grid in the past. That’s why no one can see it.

bb:

But I think the child in the “Missing Girl” series has died and passed on. (pause) Actually, in rereading post 4 of the series, I believe the girl stayed off the grid but moved to a parallel city of Sumida, in Tibet. Perhaps a sister town of some sort to Stranger Creek. But both are clearly designated as being “off the grid.” Just as Stranger Creek is no longer part of Kansas, Sumida is no longer a part of Tibet.

Hucka D.:

Yes.

bb:

In reading further, Hucka D., I see that the girl Suzanne, who is apparently also dead, leads the Missing Girl, Samantha, to a man named Chen Yet Chen, who then tells her she must go to Sumida. All this, though, seems to revolve around bringing a tiny god to life who currently resides within an 8 inch long casket. Pretty crazy stuff, Hucka D.

Hucka D.:

Interesting that you’ve put the blind Wilsonia Driver in the new collage, again, but in a diminutive state as well. She apparently is riding — driving? — the train that is coming out of the hearth the snow statue stands above. The statue also seems to be providing the string for Wilsonia’s continued sewing.

bb:

She is pointed the opposite way from her original incarnation in the Wheeler series, in collage #2. She drives away from the redwood tree, the General Grant, instead of blindly toward it. The snow statue seems to be helping her?

Hucka D.:

Wilsonia Driver is the god. She/he is resurrected. She is reborn.

bb:

The sinister smile of the demon Resident in the background has been filled in by the edge of the hearth. Demonized Paul, I mean.

Hucka D.:

The sink the snow statue seems to be slightly tipping over to provide Wilsonia with needed thread represents synchronicity itself, along with your gallery in Healy. Heald; healed. It also represents being healed by surrealism itself.

bb:

How so?

Hucka D.:

The image she is riding, or driving perhaps, is a famous symbol of surrealism itself. By Magritte. Just like the sewing machine is another famous image, because of Andre Breton’s famous quote about the work of a certain surrealist poet being like the chance meeting of an umbrella and a sewing machine on a dissecting table.

bb:

This seems to be the corrrect interpretation! We’re certainly moving along the right lines at any rate.

Hucka D.:

Train line. Rails.

bb:

In comparing the two pictures more, the train is about the same color as the golf driver in the older one. And there is a vehicle in the older one as well, but a car in that case. And one that seems out of control in comparison to the train in “Omaha & Specific”.

Hucka D.:

They have brought the god to life.

bb:

Thank you.


Loose Thoughts…

Taking “notes” for Wheeler collage #9 now. Since Rose Hill related images popped up in #8, thought I’d travel further down that particular line. Googled “196833” images and second hit was photo from Rydal Water. This certainly seemed significant. So I looked up Rydal related images, remembering that collage #9 of Yale series, kind of a twin to the Wheeler series, introduced Rydal and Grasmere images into the art 10×10. Thinking also of the “Monster Island” in Grasmere Lake that Wordsworth was so fascinated by.

Wonder if there’s more I should write about on collage #8 before moving on.

This also relates to the end of the Rose Hill series, collage #10 (non-aminated, unlike the 10th of the Yale series and, projected, Wheeler series), and the 273×721 rectangle in the center. Hold on…

*****

Baker Bloch is inworld now, reviewing the Rose Hill series and paying particular attention to the last half of that series (collages 6-10). Collage 8, 9 and 10 all have the same two parrot images as “Omaha & Specific”. I can’t remember if I took notes on those collages at the time or not… just remember that I did for the first collage of the Rose Hill series. After that I think it was sketchy.

But at any rate, Monster Island is being zoomed in on once again, like it was at the end of the Yale series that succeeds the Rose Hill series. Monstrous Moonshine. The Stranger Creek labyrinth seems to be left behind. Hucka D., you there?

Hucka D.:

What’s on Monster Island?

bb:

Chance meeting?

Hucka D.:

273×721. Find it.


“Words Worth Savings”

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“This is, again, a draft (2/19: NOT a draft now!), but I think I have enough in place to work on an interpretation, at least in a preliminary way. So let’s bring in Hucka D. again to help. Hucka?”

Hucka D.:

You start.

bb:

Ok. The last thing I added to the collage was the Rydal waterfall in the center. At first I only had an enlarged “campfire” there, which I think stands for a portal, Hucka D.

Hucka D.:

You found it on the shore of Rydal Water. The photographer didn’t know what to make of it. You saw it as a potential portal symbol, and saved the picture. It has paid off. Congratulations.

bb:

But then I added Wordsworth’s gravestone, curiously mirroring the top shape of the rock structure toward the bottom of the collage draft, beside the bottom of the waterfall now. But I have the feeling that the gravestone, or Wordsworth’s presence perhaps, opens up this water portal, which I originally planned as a fire portal, like the one in the Bar Harbor sim, potentially.

Hucka D.:

It didn’t turn out that way, though, huh? Water instead of fire. Wordsworth.

bb:

Let’s move to the beginning of the collage structure now. The first element added to the base photograph, which is a scene from Rydal Water again, is an album cover of Burl Ives called “Songs of Ireland”, released in 1958 by Decca.

Hucka D.:

Then one and only one corner of the album was removed for the second move of the collage game. This exposed the Rydal Water photography underneath it.

bb:

I had already started a different Wheeler #9 collage before this, also using a Rydal scene.

Hucka D.:

That base may still be used for another collage. Jasper.

bb:

Anyway, I believe I immediately made the association between this photograph and the scene on Burl Ives’ album. I thought it could work together. Stone walls obviously, but also the colors were similar. I was originally attracted to the Burl Ives’ album, which I’ve had stored on my computer for several years now, because of the very red haystacks. This was also an inspiration to use it in a new collage, since the haystack image has come up again in the Wheeler series [collage #6].

Hucka D.:

It’s the stone wall that unites the Ireland landscape in the album cover and the Rydal landscape. That one wall. And the removed corner exposes the rock structure that has the same shape as the Wordsworth gravestone. The gravestone could not have been introduced into the collage later on unless that was exposed.

bb:

There’s a similar rock jut at the bottom left hand corner of the album cover as well. (pause) So this probably brings us to the Hunt City sign. As it turns out, the Hunt City sign in the picture (unaltered from its original web dimensions), the one at the city limits I assume, is basically the same length as the height of the corner piece removed from the album. The *second* part of that sign, where it says “Home of Burl Ives”, is the same length as the *width* of that same corner piece.

Hucka D.:

You forgot to mention that when you trimmed down the album cover of the excesses on each side and at the bottom, you were able to deduce that the actual cover itself — the only version of this cover you were able to find online — is about 512×512 pixels. This may, then, related it to the base parcel of Second Life, which is 512 square meters. And also the square sim itself, which is 256×256 meters, or half 512.

bb:

Right, exactly. This has something to do with a sim… the album cover is a sim. Today I have to carefully measure the cut out and the related Hunt City sign to further clarify the situation.

Hucka D.:

We have more to talk about concerning this collage for certain. Parrots… SL tie ins… and the Monster number. Monstrous Moonshine.

bb:

Thank you.


“Words Worth Savings” (2)

“Let’s continue then, Hucka D. The draft has turned into the final collage now, as of today.”

Hucka D.:

Fine work. This one is different. Outwardly it may not be as impressive as others in the series. But it has an internal beauty. This one is different.

bb:

You’re talking about the mathematical proportions of the collage here, I assume.

Hucka D.:

Yes.

bb:

1st off, Rydal Water, or the Rydal area of the Lake District in England, was pointed out through the 196833 image. The photo I’m speaking of comes up 3rd now in a google search for 196833 images, as we’ve already talked about.

Hucka D.:

But then the jigsaw parrot comes up soon in a search for 196883, the actual Monster number. 50 more than 196833. That’s a central mystery, then, this relationship.

bb:

I know I’m not going to be able to currently figure out all of the meaning of this collage, but let me tell you what I have.

Hucka D.:

Go ahead.

bb:

We’ve talked about the original, simple juxtaposition of this collage. It starts out as a photograph of Rydal Water. That’s the base, I mean. Then we add the Ives album cover, but trimmed of excess to become a perfect 512×512 pixel square. Since the overall picture is 1024 x 768, this means that the album cover is precisely 1/3rd the size of the overall picture.

Hucka D.:

Then the corner was removed. Lower right of the album.

bb:

The corner piece removed turned out to be 288×173 pixels, Hucka D.

Hucka D.:

But you had to remove essentially that particular size of a chunk in order to best synchronize the album cover picture and the Rydal base photograph.

bb:

Precisely. It was mainly done through the stone wall they share. That’s an important point. That’s a main “cue point’ for the collage as a whole. And to emphasize that space, that cue, I’ve now highlighted the 288×173 chunk in this final draft through a pink outline.

Hucka D.:

But there’s, then, another pink outline, about the same size, on the right hand side of the collage now.

bb:

It’s the same size: 288×173 pixels. Turns out that the Hunt City sign I added to the collage is around 288 pixels long, same as the height of the chunk.

Hucka D.:

We’ll return to that. How about the yellow-green rectangular outline found in, let’s see, 3 different parts of the collage in this case?

bb:

This is the size of the rectangle formed by the length of the remainder of the Rydal photograph below the album still, and then the width of the corner chunk itself. It’s,then, 113×173 pixels. The Hunt City sign had a smaller sign attached to it, just below the main sign. It said “Home of Burl Ives”.

Hucka D.:

Burl Ives was born here. In this tiny Jasper County hamlet.

bb:

That’s right. The smaller sign turned out to have the length of the other side of the corner chunk, though. 173 pixels. So I decided to fit it with one of those 173×113 yellow-green rectangles, and also have it exchange places with the “Burl Ives” written on the album cover, which comes before the title “Songs of Ireland”. The two “Burl Ives” exchange places within the collage.

Hucka D.:

Let me see: the length of the larger Hunt City sign is the longer dimension of the corner chunk. The length of the smaller Hunt City sign is the same as the shorter side of the same chunk. 288 and 173 respectively, then.

bb:

That’s right. But there’s more. The red grass block to the left of the lowest yellow-green outlined rectangle turns out to have a precise 3:1 ration, or 113×339 pixels. Let’s look at the top part of the Rydal photo above the album cover, then. It has a height of 143 pixels, or 30 more than the bottom part below the album. 113+143 then make 256, or 1/2 of the 512 length of the album, which is a perfect 512×512 square. This is not the odd part, though. The odd part is that this 143 height is essentially half the longer dimension of this corner chunk, as we’re calling it. *Also* it is the *height* of the larger Hunt City sign, the main sign that is, which is 144 pixels.

As I said, I’m still studying these ratios, but there seems to be an intricate working relationship between the various parts of the collage as the studying stands already.

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graphic illustration of some of the number ratios we’re talking about in this post.

Hucka D.:

I like the way you can insert a Hunt City sign above the album and have it fit perfectly snug into that spot height-wise. But then, if I’m reading this correctly, this creates an implied square of 224×224 on the album itself, caddy-corner to our hypothetical displaced sign and the area exposed by the removed corner.

bb:

I think you’re correct on that.

Hucka D.:

Then the jigsaw parrot of the collage, doubled by a color inverted parrot once again, seems to emphasize the jigsaw nature of the collage as a whole. The one you found in a search for 196883 images. They’re both sitting on the far right rock wall. Between them and to the left is a portal, created by a circle of rocks once more. Just like the one you found in the Bar Harbor sim. Originally you thought the fire would create a portal, but now you see it is water. A stream flows from it, magically pouring “down” the level meadow toward the graphic double of Wordsworth’s grave stone: the rock shelter exposed by removing the corner album chunk.

bb:

As I said, that waterfall, which is the Rydal Falls, is the last thing I added to the collage. I think it has to be there.

Hucka D.:

The parrots seem at peace on the fence. They merely watch now what’s happening to the landscape around them. They seem even to be sentries for some kind of energy passing from the Wordsworth stone, through the open space between them [centered by the cuing fence mentioned before], and then to the portal. Wordsworth opens the portal, that’s for certain I think. What has been opened, though?

bb (after a pause):

Well, I think we’re going to have to come back to this later on after I do more studying.

Hucka D.:

Don’t forget the relationship between the two largest islands of Rydal Water. You can see them at the top of the collage.

bb:

Ok. Thanks, as usual (smiles).

*****

“Hucka D., before I forgot I just wanted to add that I think the two parrots in the collage represent life and death itself, inverted to each other, you see. And the portal represents a birth into life from the death state.

Hucka D.:

What is being born, then?

bb:

Well, I suppose it could represent the birth of Wordsworth himself, since the water [of life] flows from the portal “down’ to the rock enclosure that seems to directly resonate with his grave.

Hucka D.:

Burl Ives, as well, was born in Hunt City or thereabouts.

bb:

The parrots are yin-yang, then. One cannot exist without the other, like we cannot live healthy days without nightly sleep.

Hucka D.:

Taijitu.


“Ives Got It!”

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“A simpler one to end. Nice relief!”

Hucka D.:

It is done except for the polishing of the 10th. Well done!

bb:

Thanks, but you helped a lot. I have to give you a lot of credit. But we have no rest, perhaps, because the Jasper series is coming up immediately.

Hucka D.:

Very.

bb:

I’m going to pull up Wheeler Collage #10 and animate it with Wheeler Collage #1 for an interpretation. Give me just a second… (pause)* First off, we have the two truncated trees turned upside down from each other in respect to “Benwheelerworld”. This would be the willow and the palm beside Mossman in the older work.

Hucka D.:

And hiding two Mossmen as well. This hiding makes the title of the sign to the left more apt: there is only one Mossman now. Or is there?

bb:

Anyway, so this reversing of willow and palm between the two collages, #10 and #1 of the series, is obviously related to the same between collage #5 and #6 of the Wheeler series, or “Willows Diamond” and “The Secret Word Is…”. In the former you have the willow but not the palm, in the latter the reverse.

Hucka D.:

It seems that because the palm and willow are placed opposite what they are in either of these two central collages, that the current collage, “Ives Got It!”, is a resolution of some kind for the series. What does “Ives Got It!” mean, then?

bb:

Ives is present in the collage, this time as what one could call an “avatar”. This would be the snowman Ives famously voiced in the Christmas classic “Rudolph the Red Nosed Reindeer”. I believe the yellow submarine the Ives-snowman is pulling out of the field of similarly yellow or golden grass here would substitute for Rudolph in this case. And the glowing nose of the reindeer, the saver of Christmas, becomes the nose of the sub, instead.

Hucka D.:

Ives tells the story of the saving of Christmas, then. He relays events that have already happened.

bb:

Somehow the saving of Christmas also, then, causes the appearance of the single Mossman in the midst of Ives-snowman and yellow sub.

Hucka D.:

I believe this represents the appearance of the Wheeler series as a whole, starting with this collage #1. End has switched back to beginning; the snake has swallowed its own tail. Orobourus.

bb:

And then I guess — turning to the sign on the right — that “City Hunt” is also a part of this overall reversal demonstrated in “Ives Got It!”, like the reversal of the palm and willow. This is, however, reversed from its state in the collage immediately before #10, or “Words Worth Savings.”

Hucka D.:

We have a little more work to do on that one, though.

bb:

Ok, we’ll maybe get to that probably tomorrow night… maybe tonight. But Hunt City becomes City Hunt. I believe this has to do with the Mossman sign that it turns into in the switch from 10 to 1, again. I think the city hunt referred to here is the hunt for the Mossman sign, which is an actual town sign in Australia. This is then, again, a transformation of a reversal into a singular version of Mossman.

Hucka D.:

The position of the palm and willow in #10 mirror that of the Stephen gallery. We must also talk of that tonight if we can.

bb:

Well… briefly, I think I may have to give up the Otherland property and gallery. I now rent a second gallery space on the mainlands, and I’m beginning to understand that the Otherland one will never be frequently visited. Heck, even the really, really cool Verloren Castle, sitting right on the ground and in the center of everything, as far as centers in Otherland go, doesn’t get that many visitors, perhaps a couple a day — could be wrong there.

Hucka D.:

You must stay on Otherland at least another month. Then decide the next step. You have your two, cheap mainland gallery spaces now. You’ve freed up room to insert the Jasper series into the primary of the two: the Edwardston Station Gallery in Healy. You must focus on all-things-Jasper now. You are wrapping up an important, long term project. Very important.

bb:

I can’t see beyond Jasper then, or the 10×10.

Hucka D.:

You can but in a more limited way that at the end. Getting back to the collage interpretation, these two men around the sign seem to be playing golf. Has the man to the left lost his ball, perhaps?

bb:

This is the same man as in the third collage of the series, or “Bigfeet”. There his foot overlaps the foot of a red fox.

Hucka D.:

I believe this is a reference to the Cinderella story. The shoe fit in Healy, though. You found your correct fit. The ruby slipper. One, in this case.

bb:

The golf bag full of clubs is obvious reference to “Wilsonia Drivers”. The man is hunting his golf ball, perhaps, like we, as a whole, are searching for the way out of the collage series. And the hunt ends with finding the correct city or concept: Mossman. “City Hunt” turns into or is resolved by “Mossman”.

Hucka D.:

Interesting that in this draft, the word “Ives” is partially obscured. You’d probably have difficulty in making out the word if you weren’t familiar with the previous collage of the series. (pause). There’s also the possibility that Mossman is a Christ figure, since there are three posts holding up the Mossman sign…

bb:

…and that particular aspect might be transferred into the first of the Rose Hill series, just guessing by some rough drafts I’ve already concocted for the first collage of that one.

Hucka D.:

We are about ready to end and move on.

bb:

I should also point out that the obscured Mossmen or Mossman has 3 feet, just as there are 3 pictures of Lambfoot Dub tarn in “Bigfeet”, the collage that the men of this particular collage “come from”.

Hucka D.:

Could be visa versa as well, though.

bb:

Right. One of the Mossman/men feet is now obscured, in turn, by the Ives-Snowman.

Hucka D.:

That would be the correct foot. The one in the future.

bb:

Alright, we’ll just leave it at that.

Hucka D.:

Also: congratulations on the 1st birthday of the blog itself. You’ve created a lot of posts!

bb:

I don’t see it slowing down very soon either, although it has shifted away from SL a bit since the end of October. First Carrcass-1 had to be dealt with, and now Wheeler-Jasper. In-between: the Ubertemple(s).

Hucka D.:

You’re not finished with Otherland.

bb:

No.

* Once again, the reader can create this animation themselves: just toggle between this image of the newer “Ives Got It!” and the older “Benwheelerworld”.


“Spirit” in the Rubi Forest

TEXT SOON.

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Loose Thoughts…

Just loose thoughts tonight… maybe some chatting with the D. We’ll see…

I now have *two* Edwardston Station Galleries on the mainland. Just like that. The Edwardston Station Gallery in Healy presently contains the complete Hidalgo, Wheeler, and also Oblong series of the 10×10, for a total of around 40 collages. It’s really quite packed. Yesterday I also rented some space in a tower in Seefeld, in the Snow Region of Sansara. It’s a building Wilsonia stumbled upon in her recent wanders in this large area, and, as it turns out, a kind of culmination of these explorations. Baker Bloch, now that he has an established center, is also set to continue the Snow Region explorations, if Wilsonia decides not to do it herself. Count on a number of further posts about that subject.

To the details of the new gallery itself, which I’m simply calling Edwardston Station Gallery – Seeland. Already I’ve fitted the space with the Rose Hill, Yale-Newton, and also the Oblong series. Of the 10×10 series, only the earliest now, or the Greenup series, is not currently being shown in a commercial gallery. I consider this one to be the least important to show, perhaps. So it’s kind of a division of older and newer collages of the 10×10 going on between Healy and Seefeld. Btw, Seefeld is names for an important skiing village in the Austrian Alps.

The current overlap between the two comes in the Oblong series, which is present in both versions of the Edwardston Station Gallery. I plan to eventually remove the Oblong series from the Healy version, and replace it with the last series of the 10×10, Jasper, which will supposedly start very, very shortly.

I’ll provide some pictures of the Seefeld gallery asap.

Which brings us to the Otherland gallery/temple complex, which has received almost no visitors up to now. This is over a month into its existence, I believe. I’ve decided to wait until after the Jasper series is completed, probably sometime toward the end of March, before fully confronting the reality of perhaps giving up the Otherland property, in an effort to further downsize my property claims in SL. Still not sure I want to do that, though.

Otherland exploration has been put on a bit of a hold. Not sure that will change during the composition of the Jasper collages, as my focus may remain on the Snow district, and perhaps the Blake Sea as well. There are now substantiated rumors that new continents will emerge around Gaeta soon; Baker Bloch wants to explore those virgin lands when they first appear as well.

“Let’s bring in Hucka D. to see if he wants to say anything tonight. Hucka D?”

Hucka D.:

There is an interesting tension happening between the two versions of the Edwardston Station Gallery, don’t you think? I believe it is helping both. Old verses new; two quite different rental spaces.

bb:

There may be the possibility of showing the entire 10×10 in Seefeld, Hucka D. But I don’t plan on doing that right now. I like the artistic community the Healy gallery plugs me into, centered on the Kelly Yap Gallery and Kelly herself, I suppose.

Hucka D.:

There’s more story to all that. Doghause.

bb:

Right, I’ll also explore that further soon.

Hucka D.:

Graham… Doghause… Resident;Ornaglyphics… walking stick of a path connecting them. You are new there, freshly emerged, without pupils, from behind a mysterious curtain that may be the Gallery at the Temple of TILE.

bb:

Ornaglyphics, for example, would be like Duck Stab, then? A more mature and blended-in version of myself and my gallery there?

Hucka D.:

Could be. You see yourself in the future, sitting on the couch or perhaps standing, talking to one of the Residents. But this is you as well. You are the Resident, the creator, as well. The face emerging from the curtain in the ESG collage would be more your gallery then, perhaps.

bb:

Interesting. New gallery on the block. More than me personally.

Hucka D.:

People understand that the gallery speaks more to the real life person than the avatar he or she chooses, most likely. especially if you are a true and involved artist. But the avatar can also be a work of art, or turn into one. What does your avatar, Baker Bloch, say about you?

bb:

That my appearance in SL means less than what the gallery represents. For sure.

Hucka D.:

Some people don’t quite feel that way.

bb:

That’s fine.

Hucka D.:

Do you want pupils? So that you can see more clearly?

bb:

I can see fine. I don’t use Baker Bloch’s eyes to see in SL.

Hucka D.:

Remember when we exchanged eyes? Before even my character became the bee it is now? This would be over a year ago now.

bb:

I don’t think that Hucka D. is the same as you, though.

Hucka D.:

Exchange… putting yourself in another’s shoes or eyes or whatever. Ruby slipper. Singular.

bb:

Can you answer anything about Otherland tonight, Hucka D.?

Hucka D.:

Nother. RL photography soon. Exploration. Jasper series, then heavy exploration. Photography. Mossmen portals explored. Endohikes resumed. Inner and outer. Rent in SL; explore. But ultimately you are not a builder in SL.

bb:

No. I construct places to house the collages and Edna’s photography now. But… the Temple of TILE.

Hucka D.:

You wish to have a series of dialogs about TILE, then. And the temple.

bb:

I think it’s probably called for.

Hucka D.:

Are you ready to talk about Dark Side of the Rainbow? I don’t think you are.

bb:

I need to do more experiments. May have to get a new computer first.

Hucka D.:

Chromagraphs are hooked into DSotR now.

bb:

They could be.

Hucka D.:

You need the crow, the 13th, in the center of the 12. Where does 12 become 13, baker b.?

bb:

In the center of Dark Side of the Rainbow, where you flip the vinyl record back over.

(to be continued?)


Misc. Photos; Rook (!)

TEXT SOON.

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Loose Thoughts, 2…

Now have the Greenup collages all in the Healy gallery. Rearranged the pieces within to make space for ’em. Now *all* the existing collages of the 10×10 are in a commercial gallery. What this means for Otherland and its gallery I’m not sure of. Pretty sure, though, that some major reorganization there is on the docket, but I may have to wait until the Jasper series is complete. Want to *focus* on that… finish the entire art 10×10. Had to turn down an inviting offer to exhibit some work in a gallery today because of this needed focus. But I may always need such focus…

Hucka D.:

Did you follow the crow?

bb:

Thanks for showing up, Hucka D. I *pretended* to follow the crow, taking pictures along the way, and then when I got back to the Healy gallery at sunset the crow was actually there. Time was running backwards again.

Hucka D.:

13th beyond or inside the 12. It is beyond CHRO, or at the center of CHRO. Impossibly enough. It is the creating artist creating with the chromagraphic system. Something you might not be able to do artistically.

bb:

Limit of myself as a pure artist? I’m now a collagist through and through?

Hucka D.:

Kind of. The Egan glyph is gone.

bb:

I wonder if I had anything to do with it? Tipped people off to its presence?

Hucka D.:

We must stay closely bound during this Jasper period.

bb:

I agree, Hucka D. I will lean on you a lot in the coming month.

Hucka D.:

Your involvement with SL will lesssen. Is lessening. You are moving back into the real world.

bb:

I can kind of tell that. The blog certainly carries on, though.

Hucka D.:

The blog is beyond SL. Always has been.

bb:

Is it a good thing to somewhat move beyond SL?

Hucka D.:

Why don’t you just destroy the Gallery at the Temple of TILE. Rebuild it after the Jasper series. Don’t sell the property, per se. Just destroy that gallery and temple. Till we can reconstruct.

bb:

I don’t think that’s a good idea, Hucka D.

Hucka D.:

I’m telling you you need to focus. To get rid of the temple will help.

bb:

I was thinking that the temple would *help* me focus, since I’d have the 10×10 as a whole to look at while finishing it up.

Hucka D.:

No. That’s wrong. You have the entire 10×10 as it currently stands outside the temple. Why do you need the gallery/temple now? TILE?

bb:

Maybe.

Hucka D.:

You want to talk about TILE tonight, then?

bb:

There’s an Eclipse in Jasper Co., TX.

Hucka D.:

That’s right: DSotR.

bb:

Alright, I give up. What should I be talking about in TILE?

Hucka D.:

Otherland is a terrific place, true. But you already know it. Wilsonia comes from the last unknown vallery. She blocked your further explorations because it would be like the 12th and last beyond the 11 you already had. No contact with anyone. Ever. That’s not really good, although it is attactive.

bb:

I’m not ready to give up on Otherland, Hucka D. What about, for instance, *Hurla* [Dontbee]?

Hucka D.:

We can deal with her without owning property. This is Wilsonia’s deal now. Otherland belongs to Wilsonia. She lives there. You are not going to live there. That’s why we, I mean, they brought her in. She is your replacement, or, I mean, the replacement of Baker Bloch. (pause) You will *place* your Jasper series, 1 by 1, in the Healy gallery, and you will…

bb:

I can’t give the Otherland temple up. We were going…

Hucka D.:

TILE. I know. So what do you want to know? You know everything already.

bb:

I know that I really like the temple. The positioning of Edna’s photographs within.

Hucka D.:

Then keep that part. Otherland is not the final resting place for the temple, though. You thought it might be when you bought the property but it isn’t.

bb:

Where, then? Never mind. I suppose it would be the mainlands.

Hucka D.:

You *had* the perfect place there. You gave it up.

bb:

I had to. I think you also told me to give it up at the time. Rubi.

Hucka D.:

You must figure out the relationship of Baker Bloch and Wilsonia. And me, for that matter.

bb:

The next collage, the first in the Jasper series, may be about the “tension”, artificial as it is, between the two 1/2s of the Edwardston Station Gallery, Hucka D.

Hucka D.:

You will always rent on the mainlands now. You are in the same position as you were in Rubi as far as paying to SL. What do you have now? What did you have then? What’s the better situation?

bb:

Now is the better situation. I know more; how to manage space. I know more about the advantages and disadvantages of renting. There are a number of advantages. If your landlord decides to move on there’s always more rental space to procure.

Hucka D.:

Don’t give up the Healy space.

bb:

No, I know that. Not until beyond the Jasper series and the 10×10.

Hucka D.:

Beyond that, even. You must keep showing the 10×10. We must talk of CHRO now. Crow.

bb:

Well, I’m trying to remember what it said to me, because I think it did that.

Hucka D.:

It is a symbol of the 13. Your blog is moving into its 13th month now. Jasper series will dominate this month. Crow, then, is Jasper. That’s its name.

bb:

Jasper the Crow, then.

Hucka D.:

Correct.

bb:

Can we talk to it throught this blog?

Hucka D.:

Let’s try… Jasper?

Jasper the Crow:

When you’re hot…

Hucka D.:

baker b. wants to talk to you Jasper.

Jasper the Crow:

I was expecting a call. Caw!

bb:

Jasper, are you the guiding spirit of the Jasper series I am probably going to start up tomorrow even?

Jasper the Crow:

I am black within color. Free me.

bb:

Did you drop off Mr. Guru’s sign?

Jasper the Crow:

You didn’t see me today.

bb:

No. Tomorrow?

Jasper the Crow:

Yes.

bb:

What about the architectural tension between the two 1/2s of the Edwardston Station Gallery now, Jasper the Crow?

Jasper the Crow:

A cross exists.

bb:

Yes, that’s a resonance with Lllanddwyn Island.

Jasper the Crow:

Jasper.

bb:

Interesting it’s called healed rock, this broken jasper from the island.

Jasper the Crow:

There one, then the other. Two in one. Foreign One. Four, two, one.

bb:

Do you know about Monstrous Moonshine, Jasper the Crow?

Jasper the Crow:

I know of monster and moonshine. Opposite corners. Two in one.

bb:

Synchronicity?

Hucka D.:

Jasper said he would visit you another night. So now you’ve actually spoken to him.

bb:

He did not speak to me today?

Hucka D.:

Think about this and then go back to sleep.

bb:

Thank you.

*****

(2:55 EST)

bb:

Hucka D., I’ve decided I’m not going to give up the Otherland property. If something has to go, I want it to be the Seefeld rental. Cycle the collages through the Healy gallery instead. But I’ll monitor the visitor count at Seefeld anyway. Not expecting much, though.

Hucka D.:

Good you know that. Get to work on Jasper.