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From: "baker b." <edwardston@yahoo.com>
Date: Fri Dec 10, 2004 1:13pm
Subject: Floydada posts 1-5
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From: baker b. <edwardston@yahoo.com>
Date: Wed Oct 27, 2004 5:20am
Subject: 11,12,13

10-23-04:

Collage no. 11, or the first of the second tier of the projected *art* 10x10 (!) is now complete... called "One Pink" (right). As with collages 5 and 6, it is in same setting (diner, symbolically The Diamonds) as collage #10. Planned link between tiers: middle two collages and last and first collages of successive series will be in same setting. Will be interesting to compare these nexus points as the series progresses, and even with these first two sets of 5-6 and 10-11 (next will occur at 15-16, for instance).

As "One Pink" is beginning of second tier, it seems important to review the series so far again and then prepare notes for second series. Certainly haven't forgotten about the Billfork analysis here, and these new collages are a furthering of this overall interpretation, I fell, building upon spillover of straight analysis of Billfork and its structure into a resonating analysis of the Fall 87 Sketchbook. The new collages are based directly on images from this much older sketchbook, and acts as a type of resolution, so far, of their energies. But the first 10 will progress into another 10 now, and in all likelihood at least another 10. At least 3 tiers of 10 collages, thus. Must begin to try to figure out what these will entail, and what overall plan is.

"One Pink" replaces Irwin's head from "T Time" with a giant eyeball. This represents Pierre's current location as the center or "eye" of the USA as a whole in one way. In another way, it represents enlightenment, from the perspective of a calm center. Perhaps the ability to channel in the classic sense, like a Roberts or a Casey [sic]. In "One Pink," the Pierre/Irwin figure now topped by an eyeball is holding the fork, once again, but the t-cup has been replaced by three marbles of three different sizes and colors, or red (large), blue (medium), and green (small). This mirrors the transformation that has happened across the aisle, or the replacement of Ernst's two headed bird (byrd) with a more abstract three headed variety with the three glued together bird's bodies being the same 3 colors as that of the marbles atop the fork. This seems to represent Pierre/Irwin's recognition of this change and perhaps its meaning (illumination again... opening of "eye" or centering in Eye). At the same time, the fish that was attached by a line to the open mouth of the bird in "T Time" has  reappeared, apparently, this time as a dead fish inside the workings of the three bird bodies. I should also mention that this is a sculpture by the author (baker b.) created in 1990 as a final project for his only college sculpture class. I freely admit that I'm not at all a natural sculptor, nor do I have any desire, really, to create more sculpture... haven't done any since this final project for the sculpture class I took. The technical name is "opus 19" (below, right), to fit it in with other school art I was doing at the time. The inspiration directly comes from the Fall 87 Sketchbook, as did a lot of my 87-90 school art (I graduated in 90 with a B.A. in Art). These two works, in fact, form a kind of alpha and omega for this period of my life, with the Fall 87 Sketchbook being the first original art work that I produced when I returned to school during that time.

Back to the fish: a death has occurred in the transition between collage 10 and 11, here, and Pierre/Irwin recognizes it and the meaning. I think it represents, on one level, the death of Irwin in the movie Northfork and synch Billfork, at the end of the flick/synch. From collage 10 we are reminded of the strong association of Irwin and John Lennon in Billfork through the presence of Lennon's Sgt. Pepper uniform that the two headed bird seems to be at least partially wearing in that pic. I see it as attached to the birds, though, on the surface that is -- like the left hand of the bird is holding another uniform, taken intact from Ernst's painting. The presence of this other uniform already in the source gave me the idea to attach the Lennon Sgt. Pepper uniform to the other side of the bird figure in this collage. Originally I envisioned Irwin somehow taking this uniform off in the collage, indicating that the Beatles are dead per Lennon's "God" that ends the Billfork synch, and that the "dream is over". This parallels death of Irwin at the end of Northfork in the synch, an obvious match. But I think the presence of the (empty) Sgt. Pepper uniform in collage 10 is enough to indicate that Sgt. Pepper's Lonely Heart's Club Band  has been left behind, and that the dream is over here as well and that a death has occurred or is occurring.

That this takes place in The Diamonds symbolizes the 3 separate shots of bodies of water in Billfork (Northfork Res.) attached to the same body of filmed water in Montana. These are the 3 Diamonds of the film, with the waters overlapped with "Shine On, Part 1," "Lucy in the Sky w/Diamonds," and "Shine On, Part 2" respectively. These are the "coast to coast" Diamonds in other words, one to the farthest right (eastern US; Atlantic Ocean), one in direct center, and one to farthest left (western US; Pacific Ocean). This might be implied in the 3 birds and the red, green, blue colors, colors also mirrored in the 3 different sized marbles on the fork (in contrast to this, all 3 birds of my opus 19 sculpture are exactly the same size). This would go along with Tommie's suggested color codes for the Billfork synch, with Lennon music as red, Firesign Theater being green, and Pink Floyd as blue... the primary sources from these three artists or groups of artists that is.

Study the sizes of these 3 marbles... attach somehow to the MessiaenSphere model.

The 4th color here is gold or yellow, represented in the golden helix twirling through the innards of the bird sculpture in collage 11, in part representing a digestive system. Has this bird digested the fish it has swallowed now? (that occurred to me when I inserted the dead fish to basically end the collage process of 11) Gold seems to unite the 3 colors in opus 19, winding through each of the three flat bird figures three times. Number three emphasized again. Previously I had assoc. this opus 19 with the Confederation and the three lands of Middle Bridee (blue, left), Middle Eob (green, center) and Middle Gurr (red, right), which would also correspond to the three sections of the United States (in Notebook I, I describe how the geography of the Confederation directly mirrors that of the U.S., especially centered around the great lakes area and Chicago in particular, it seemed), or west coast (blue, left), Mississippi Valley region, which would include the Great Lakes area (green, center), and east coast (red, right). The yellow helix (composed of 3 golden circles latched together in the sculpture here) might represent an unknown center to this U.S. parallel, or the mythical POPE Project at the center of GREEN. In the Confederation, the POPE grows from a place called Edwardboro, which is the equivalent of both St. *Louis* and *Louis*ville.

I believe also that the dead fish would represent New Wurme in the Confederation, which was traditionally colored yellow. In Confederation history, New Wurme was conquered by New Eob as green (up) replaced yellow (down) in the center of its geography. Wurme, though, is reborn as the POPE, which grows at the top of the core Wurme country in Edwardboro. It is obviously a phallic symbol, but would also represent a worm that the (early) birds have eaten and swallowed, worm being another food for birds as well as fish in some cases.

But this idea is obviously tied into the last several pictures of the Fall 87 Sketchbook, and especially the very last page of 35, (below, left) as opus 19 (below, right) takes its design directly from this page.

The presence of "opus 19" in "One Pink" and the union of red, green and blue birds through golden/yellow helix could represent the end of Billfork, as the death of Irwin occurs near its end. The dead fish turned downward represents something that has passed through the twirls of the helix, as food in a digestive system. As "opus 19" was designed to be a "marble track", with marbles racing down from the top to the bottom and then being hoisted back up to the top (hoisting device never constructed, though), the dead fish also represents a marble at the bottom of the helix waiting to be hoisted back to the top. It represents the color yellow again, the end process of descent through blue then green then red according to the concept of TILE. For the next collage I may create an animated version of the TILE waterfall, or at least a static version of it (already have the image on the [work] computer I believe). In Synchpatch, USA, Pierre's new apt. in [Gray Summit] was described as having the animated TILE waterfall covering one whole wall. It represented the channeling process for Pierre, and his ability to become one with "Tyler" (Tiler) for a bit.

Back to sketchbook resonation: the fish of collage 10 and 11 is obviously tied into the Lenny Bias image at end of sketchbook, who appears in his yellow Maryland collage *uniform* on page 34, or the next to last pic of this sketchbook (below, right). Synchily, the no. on his jersey here, 34, is the same as the page number from the sketchbook... wasn't conscious of this when I decided to put his image here. Aware of this assoc., when I was fitting together the images in collage no. 11 as a direct progression from 10, thought of subbing the fish in 10 with a (sideways) Lenny Bias pic in 11, and thought of directly taking the image from this sketchbook. The two headed bird in 10 is obviously also associated with the Larry Bird image of page 34 of thesketchbook, as developed from a more bird-like image in earlier pics in the sketchbook (part 1 of 2), or this one here...

And if you look at page 33 of the sketchbook (above, left), you'll see a fish and line image that strongly reminds one of the same images from Ernst's Scarecrow painting you see in collage 10 of the new series. Strange thing though, perhaps: I wasn't aware at all of Ernst's obscure painting when creating the fall 87 Sketchbook, despite the multiple similarities with images from page 33-34 of sketchbook especially. I could term this another serial synchronicity of sorts, and by about '89 I became aware of the resonation with Scarecrow and some other early Ernst pictures during and right after WWI. This led to the aforementioned paper on "Scarecrow" and these other pictures presented after graduation, and also yet another paper presented the year after this extending the ideas into Ernst's proto-surrealism works such as Of This Men Shall Know Nothing (right)

Although I wasn't conscious of it at the time of collaging it into no. 11, even the three colored marbles on the fork now resonate directly with the colors and even sizes of the 3 headed figure in the bottom center of pic no. 34 from the sketchbook. Very interesting ( I call them the 3 Huberts in other sources).

Okay, let me move into more the center of collage no. 11 and study the images there. Most of the images, actually, of this collage resonate with ms in Georgia, and most of this was conscious inclusion. This would include the central image of the sprite bottle, with the Sprite logo covered up by one of the 8 tulip bulbs Pierre/Irwin also holds in this particular collage (in addition now to the fork with the 3 marbles on it). Both of these images – sprite and tulip – come from a particular area in Ga., but also resonate with other synchy areas of Ga. I've also identified. The "green byrd" of the opus 19 sculpture can also be assoc. with Sprite and Tulip in this direct way, along with the dead fish at its bottom (and the similar images of collage 10, of course). All of this is attached to Pink "Floyd" as well, and esp. the colors Pink (one source of the One Pink title, for sure) and Lavender.

The eyeball and ear here of Pierre/Irwin can, in one way, be directly tied to Helen Keller who was blind, deaf and dumb. The mouth (dumbness) is symbolized by the tulips here, which represent "two lips" of the mouth. This was a conscious assoc. within the collage as I was creating it. From Lips comes Poetry... hmmm. Keller becomes the poet (?) But this is another triad within the collage: eye (Blindness), ear (deafness), mouth (dumbness). Blindness is also symbolized in page 34 of the Fall 87 Sketchbook in that the Larry Bird image there has his eyes covered by a picture frame. In collage 11, "two lips" has turned mysteriously into 8, and this may be tied into the 8 pointed Billfork core diagram, or 8 of the 9 whole tracks from the Boom Dot Bust used in Billfork that form an octagon figure and resonates with the 8 sided orange (mud) hut of pages 23-24 of the sketchbook discussed earlier. This is a guess anyway, and would also tie into the fact that the Billfork core represents the alphabet, and that this same alphabet is used to created spoken language... of Helen Keller, for instance (beginning with word "water"). Is a letter the same as a (Willard) note, then?

This interpretation is reinforced, perhaps, by the central Sprite bottle, a word directly assoc. with "two lips" in Ga. You drink a bottle with the mouth, just as you speak letters/words with same. The bottle top must be removed, though, and here it is colored blue (violet), resonating with the blue-violet purple martin of 1-10 and also the blue-violet sphere centering the Brazil flag with its 27 stars, 26 below the band seen as "the alphabet" and 1 above (Lyra) as the contrasting realm of numbers (36 reduced to 10).

In Edna's old collage, a similar (grape) bottle top was added just off coast of Brazil in both her 3rd and 4th creations in this medium. Need to find these collages.

But, in resonation with this, decided to add a small Brazil flag image (central diamond only) to the sprite bottle here. Sprite is also a combo of lemon and lime flavors, and old TV commercials had a half lemon, half lime symbol for the drink. Obvious assoc. here with the Billfork core diagram, which has also been assoc. with limes (absence of tracks), lemons (partial use of tracks), and oranges (whole tracks). I also believe that the sprite bottle here would resonate with the 8 sided orange hut, thus... completing another trilogy of associated objects (limes, lemons and oranges in this case).

Look up again: tulip, pink, lavender, sprite, lemon, lime, orange, fish, bird, etc.

The 3 red, green, blue marbles on the fork in collage 11 would represent the 3 artists of Bill*fork* but also the 3 regions of Billfork... more the artists, perhaps, as presented before. This would represent a furthering of the idea that baker, in collage 10, places the tea cup on the fork on purpose and this symbolizes the similar collage creation of Northfork (cake in ad replaced by tea or "T" here). T, in TILE terms, would be both red and green, or two ofthe three colors of the marbles that replace it in 11.

To close for tonight, I'll also mention that at the end of Walt SIDney's Fantasia 2000 we have a forest *sprite* awakening a fire*bird* (redbird... orange tanager or *scarlet* tanager is sometimes called a firebird), with devastating consequences. In the synch, this is overlapped with the Gilmour composition "Sorrow" from Momentary Lapse of Reason, or 3rd period *Floyd*. Sprite can possibly be seen to create the POPE, or multiple versions thereof, at the end of the synch and movie here, with direct synchs with Gilmour guitar licks. The forest recovers.

Baker.

10-24-04:

Ideas for collage #12.

Should I continue in this series or end it on #11? Switch to map research again???

In any case, next collage I think I'd like to set in Stonethwaite village, merging it, perhaps, with Boonesfield Village in MO. Daniel Boone homestead will certainly be included in this merger. Greenup Gill, in this way, represents highway from Defiance to Gray Summit/The Diamonds. The beginning of Greenup Gill may mark boundary of Franklin Co. from St. Charles Co. (?) Eyeball man (Pierre/Irwin) will probably reappear in this new collage. See children in pic furthering idea of Billfork Core diagram now that its importance is recognized. Will be assoc. with Ga. now, esp. the M-G-D-J line of towns. Octagon equals ORANGE, or life, as opposite of RED/Death. Eyeball man may equal Willard as well. Anderson's Willard? Probably, since Helen will be his Helen White of Cleveland from Departure chapter of Winesburg. In another way, of course, she will be Helen Keller. Red Ball atop Daniel Boone homestead? Presence of T shaped crop circle here? (from Defiance as well, or not very far at all from Boonesfield Village)?

Mossman action figure may be included in this collage, or perhaps another in same series. At any rate I've downloaded some images of `em from web. (hehe). Perhaps get red skeleton images as well.

In 12, further idea of Ga. synchs with M-G-D-J line... hey, the twin of "M" is in St. Charles Co. as well, so this move "back" to Defiance would go great with the exploration of *M*-G-D-J. Put Denver jersey in this collage series as well? Probably. Restudy "M" Island in Calif. Connected with Jersey as well? Might be interesting to set something at Principia College as well (call it Principia Collage instead, though)?

Symbolize "M" again as a purple martin, or the "N" attached to the "M" (yes).

Tetractys on top of Sergeant's Cliff (name?). J is highlighted as Jersey, perhaps Elway's jersey or an Elway figurine. Elway figurine guides us thru tier 2 of the new 10x10 like Martin Prince did for first?

Get image of Sphere of MessiaenSphere. Animate? Or just include. That may be key to alphabet "Channeling".

10-27-04:

Collage #12, "The Other" (left) now completed essentially. Moving along! I think this particular collage and the Stonethwaite setting would represent what Tommie would call the orange Plane of Dingos, which is the opposite ("the other") of the supposedly more refined Plane O' Foxes. Orange in this collage is associated with the city of Denver, specifically the Denver Broncos football team and its traditional orange colored (home) *jerseys* The boy in the center of the picture, taken from the original Stonethwaite photo itself, the base of the collage, is encased in an 8 sided orange bird house. I see this as a type of prison or cage, and the boy as a bird, probably the same as Martin character from earlier in the collage series and also from other sources (10x10 fiction, etc.). To reinforce this association, perhaps, there is the martin bird again in the picture between two buildings directly in front of the encased boy from the camera angle. I also like the fact that I was quickly able to find an orange octagon shape with the cut out of a bird (hummingbird) on it, which signifies, for me, escape from the 8 sided existence (cage again... connect with Alamo as a "cage of death" perhaps?). Martin has purposefully allowed himself to be encased... trapped. This probably represents a "descent" into physical existence from a formerly spiritual existence. Stonethwaite, correspondingly, is below Greenup Gill and below the lowest picture of the series so far, or the waterfall scene of collage #8 ("Absolution", right). This collage #12 also has other things in common with #8 besides being the most proximate of the Greenup Gill series so far. The martin bird is also found in collage #8, but with an illuminated eye in that case which represents the star Sirius, an idea developed from collage #2 and the core (purple/blue sphere) of the Brazil flag. This illuminated eye represents 36, or the sum of the realm of letters and the realm of numbers – upper and lower parts of this Sphere in collage 2. But it seems significant that here the martin bird remains unilluminated... in another way the martin bird is obviously equated with this likewise purple sphere, and this association is already demonstrated in the very first collage of the series, "Finding the Niche," where a martin bird (a diff. image of the bird only used once in the series so far) is seen in the middle of a transparent flag that obviously has affinities with the Brazil flag we'll see repeated in the series beginning with the next collage ("Birth of Billville"). Perhaps this unilluminated eye in this case is to distance the figure from the original Martin Prince character. Is the martin bird growing up... leaving behind childhood ways and playful manners? Playing in the sun in the Plane of Dingos?

Another image shared between collage #8 and #12 may give further clues. We have the Coach K cubes again, emerging from an infinite perspective, but, in #12, from the opposite direction of 8 (up instead of down) and with the colors not inversed, as we have with 8. The colors are more in line with the other orange figures of #12 now, and not the violet martin of #8. Again we get the impression that Martin, the purple martin, the illuminated bird, has been relegated to the
edges now, and that the energy of "D" – Denver – Dingos – is now prevalent. The coach K cubes are emerging from a miniature version of Stonethwaite, and, more specifically, the very place that the children are playing in the "real" version seen in the base photo. This emphasizes that what we are seeing here is a version of "Denver", or the orange Plane of Dingos. This from more Tommie mythos talk, where she (as a he) stayed in Yoakum County, TX (left) with its Bronco and Denver City (home base for Tommie... the latter that is), and also having a town named "Plains" for a county seat. I think this is only one besides the famous birthplace of Carter in Ga. (Ga. again, interestingly)... but, actually, I don't think Plains, Ga. is a county seat (no, it isn't). This reinforces the rural origins of Jimmy Carter. D is for Democrat as well? Democrats vs. Republicans equals, in many eyes, a battle of Dingos (unwise) vs. Foxes (wise... knows proper way to guide country)? Thus collage # 12 might be more an election oriented work. If so, it may also recall another Democratic president in John Kennedy. The helmeted John Elway figure collaged into the mid-ground of the base photo here may represent another John, Kennedy (as well as John Lennon, another assassinated celebrity), who should have been wearing a bulletproof helmet to protect himself.

For Tommie, Yoakum County with its Bronco reinforcing Denver City, the place he was based at the time, was a type of cage or prison as well. Only contact with Pierre, perhaps kept them *both* sane... but Pierre had more wear and tear on him at the time. Pierre subsequently movedto the "real" Denver, as he called it, or the famous one in Colorado where Elway quarterbacked the Denver Broncos for so long. But Pierre quickly found this was another trap, and also nearby Boulder and his frigid apartment and frigid wanna-be girlfriend Johnnie Lyndon. So in yet another way, the John Elway doll represent Johnnie Lyndon, a name representing a hybrid of John Lennon and Lyndon Johnson, successor to John Kennedy. At the last concert of The Garrs, which Lyndon fronted as lead singer, a faked beheading took place in protest to the
contemporary shooting of John Lennon. Corresponding to this, perhaps, the child who is encased in the orange 8-sided birdhouse (hummingbird house, but also a martinbird house symbolically), has only his head and feet showing. The Garrs band as children playing? (one of other children rolls on top of several hexagon shapes shaped like drums... kind of).

But I think the central figure would represent more Pierre or Tommie, especially as trapped in Yoakum County, Texas (caged).

In a very different way, as following up on the symbols of the previous collage, #11, I think we have a furthering of the Ga. map material in #12. We can tie this into RED and ORANGE discussed previously and the fact that ORANGE here represents "birth" or encasing within a physical body. Trapping of spirt within physical form. Stonethwaite itself, as seen from the air, gives the impression of a prison, an entrapping. I probably couldn't live there (smile). The line M-G-D-J represents corners of the orange colored octagon, marked out in the Ga. location. J also highlights Jersey, as in the Elway Jersey but also Jersey I., the largest of the English *Channel* Islands that I wrote about previously in connection with the "Kane!" track of Boom Dot Bust/Billfork.

John Glenn being from Guernsey* seems important as well. John Glenn was perhaps most famous Mercury astronaut, as Neil Armstrong was most famous Apollo astronaut. Mercury probably highlighted more than Apollo in this particular location (?).

The orange balls on a circle in the background remind one of a ferris wheel, but also reinforce the 8-sided figure (the circle, as a whole, would contain 12 balls, or half the # of elements in the whole Billfork core diagram if we count oranges, *lemons, and limes*. It is from a picture of a clock. It also reminds one of the arm motion involved in throwing a football... Elway figure just below topmost orange ball here (which, in turn, is placed on top of mtn. in background of base photo). Football also has an orangish tint to it sometimes, as is the case with the figurine here. Resonation between Elway figurine and figurines in collage #5, especially the Lennon doll that the other Beatles dolls would be *encased* within, one after another. Like the hexagon shapes, actually, that one of the children is rolling upon in the foreground of #12 here. That the 8-sided birdhouse encasing the central child would be the largest of this set also emphasizes this association, and that the boy inside is another Lennon figure and resonates with Irwin from collage 10 (& 11), another strong Lennon figure within the Billfork synch.

The perspective of the coach K cubes also resonates with the different sized series of hexagon shapes, another geometrical figure with the octagon also directly related to the square/cube (doubles number of corners of former). "D" replacing "K" at top of these cubes in collage #12 represents the "other, the opposite of the scenario in #8.

Couple more notes: house in background reminds me of Anderson's house, and also, perhaps, Daniel Boone's house where he died (his son's house, actually) in the Boonesfield Village, which is kind of resonant with the similarly sized Stonethwaite village here. Probably represents Boone's house more, though, and the red balls above the house with events assoc. with this house (giant red ball above this house, as reported by same man whose property was scarred by the T shaped crop "circle in Defiance).

Get quote from this man for here about this ball. Seems important for sure.

Baker.
3

From: baker b. <edwardston@yahoo.com>
Date: Thu Oct 28, 2004 3:49am
Subject: 13

Completed collage #13 today, or one I call "Willing Pupil" (right). Eyeball carried over from #11, hummingbird from #12 (where it was seen only as an indentation in the central orange octagon encasing a laddie). But the hummingbird is also obviously related to the martin bird, especially seen in its similar color here (blue and purple, as well as white). We get the impression here that the hummingbird could poke out the eye... or make a *pupil*, if he wished -- hovering right in front of it. The eye here, in contrast to the one in #11, is "protected", shall we say, by a red jewel that is Alexandrite. There is no pupil thus. That the eyeball is in a bed perhaps symbolizes that the eye has woken up, or is at least attempting to. Waking sleep? The eye repels the hummingbird, who wishes to be a pupil? The all knowing eye, once again, represents a center of the US in Pierre's location, like the eye of a cyclone that is "Race Around America". It is a symbol of the center of map synchronicity activity. Hummingbird, I think, represents more of a danger around an eye because of its longer beak and because hummingbirds are more naturally aggressive, as I've seen demonstrated around the birdfeeder on the porch of our house.

The alexandrite stone has an interesting story attached to it. Alexandrite appears green in natural light but red in artificial light. Some facts about this stone from an encyclopedia article online.

QUOTE
This rare gemstone is named after Russian Tsar Alexander II (1818 - 1881), since the very first Alexandrite crystals were discovered almost exactly on his birthday in the year 1830 in the Emerald mines of the southern Urals.... Because it shows the two colours red and green, the main colours of the Russian national banner in those days, it inevitably became the national stone of Tsaristic Russia. Beautiful Alexandrite in top quality, however, is very rae indeed and is hardly ever used in modern jewellery. In antique Russian pieces you may come across them with a little luck, because the Russian master jewellers loved this stone. Also Tiffany's master gemmologist Georg Kunz was so fascinated by Alexandrite that the jeweller's firm produced some beautiful series of rings and platinum ensembles at the end of the nineteenth and the beginning of the twentieth century. Smaller Alexandrites are occasionally also used for Victorian jewellery from England.
.... The most sensational feature about this stone, however, is its surprising capability of changing its colour. Green in daylight, Alexandrite changes its colour to a soft shade of red, purplish-red or purple-grey in candle light or artificial light. Thus it displays a unique optical characteristic making it one of the most valuable gemstones of all, especially in fine qualities.
.....With its good hardness of 8.5, Alexandrite is an uncomplicated stone to wear. The more intensive the change of colour, the more valuable the stone. Fine Alexandrite, especially in qualities of over one carat, thus belongs to the most expensive gemstones in the world. It is rarer than fine Ruby, Sapphire or Emerald. Its value does mainly depend on the depth of the colour change: a really fine Alexandrite should show a vivid green in daylight, and change to purple-red or deep purple in artificial light, without any trace of undesired brown. And if its origin is indisputably Russia, than we are talking about a real rarity of enormous value.
ENDQUOTE

The change in color from green to red when exposed to artificial light was what most interested me about this stone. I associated it with the opposition of these colors in my proto-map mythology, which occurs through several levels (octaves) of manifestation. On the top level, in terms of Mythos, is the opposition of Wazob (green) and Ur (red), which was translated even to a High Wazob and High Ur surrounding Boone (High Federation; blue). The two beds here represent "strange bedfellows", like the old USA-USSR polarization (USSR strongly resonating with Ur through, among other things, *Ur*sa the bear constellation... Russia called the Great Bear sometimes). They would also represent the pairing of Thomas Jefferson and Aaron Burr of the Dem-Rep party against the Federalists headed by Hamilton. Also Faulkner (green) and Hemingway (red), or "Herman and He-man". Corresponding to the latter, especially, we have a Mossman and his staff substituting for the 4 bedpost of the lower bed in collage 13, with Mossman one of the more unusual He men of the Saturday morning television show. In this lower bed, poking just about what appears to be a pile of dirt or sand on this bed, is the 2nd version of the alexandrite jewel, this time in its green version. The green version is suppose to be the natural light version, yet here it appears directly beneath an artificial lamp light which also obviously illuminates the bed cover as well. It is, instead, the red alexandrite that is more in what appears to be natural light in this collage; bed cover reveals what appears to be filtered sunlight. Thus another paradox of sorts. The presence of the He-man Mossman and the attachment to the artificially lighted (lower) bed and the green Alexandrite seems to imply that we here have another symbolic form of the dichotomy between Frank (Heman) and Herman Parks, with Frank Park as representative of the number 7 and the letter T in terms of TILE, assoc. with the green color of this T. The red alexandrite and attached bed would be Herman Park in this same manner, which is related strongly to L (red in TILE) and the number 6. 7:6 is ratio of area between Frank and Herman Parks. The "missing one" of Herman Park instead manifests as TILE Creek, which begins at Hand Spring and ends at just below Drink Lake. A symbol of Winesburg in other words, and, correspondingly, its water can turn into wine at times, a natural disinfectant.

Imp. that Alexandrite first discovered in *Ur*al Mtns. of *U*SS*R* (then, and now, Russia). Most valuable and most famous of these jewels come from this area.

The beds and the assoc. green and red alexandrite jewels would also represent the master synchs Billfork (red) and SID's 1st Oz, as directly tied also into the symbolism of the two Boulder parks Frank and Herman. At first, it was thought that Billfork was more the appropriate symbol of Frank Park but further inspection caused the roles to be reversed – SID's 1st Oz became the synchronicity of high Price, while Billfork became the truly Price-less one. At least in terms of gold tilings. As Pierre's center of the USA is also directly attached to Billfork, the eyeball here would also represent Pierre as aware of the connection of Billfork to this center. The eyeball (Pierre) is now aware of the relationship of Billfork to SID's 1st Oz.

The artificial nature of the lower bed is emphasized by the fact that I had to enlarge the image up to 150% to bring it more in line with the proportions of the upper bed, which remained unaltered from its original state. Btw – probably another important fact – both of these bed images were found on the a bed and breakfast site from Greenup, Illinois. They come from two diff. rooms in this bed and breakfast. The artificial proportions of the lower bed would resonate with the artificial light, and also the artificial substitution of (natural) red jewel for green jewel under this light. We also have the physical artificial completion of this bed in the collage, with Mossman's staff substituting for the missing fourth bedpost. The artificial nature of the lamp in the pic is perhaps emphasized by the fact that the lamp has no natural support in the collage – it is seemingly floating in the air.

I should back up here and mention that the background photo for this collage is, once again, of the Greenup Gill general region in the Lake District, and of the same set of (freeserver) photos used in collage 5, 6, 7 and perhaps some of the others. The scene depicted here is that of the Stonethwaite general region, thus tying this directly with collage #12 preceding it. Originally, I saw the beds in the collage as from a hypothetical Stonethwaite Inn, a place such as Edna and I might stay in if we hiked in Greenup Gill sometime in the future. The rock building highlighted in the background of collage 12 might be the Inn of the tiny village. I envisioned just a collage with a bed, with a mysterious sleeper. Eventually I decided to use another Greenup Gill landscape photo to position this bed in, which turned out to be two beds. As I said, I found the images for the bed using the Greenup keyword in a Google search again (comes from b&b in Greenup, IL). The village of Stonethwaite is covered up by the beds, although exactly where it is in relation to them I can't say right off. In the foreground we have the upper slopes of Eagle Craig that towers above the village and marks the entrance into the Greenup Gill valley.

So we now have identified the bejeweled eyeball with Pierre again and his present home as resonating with the overall Billfork synch, surfacely seen, for example, in The Diamonds roadside restaurant known "coast to coast" as assoc. with the two east-west oceans of the US, the Atlantic and Pacific. In Billfork, again, this is resonant with the shots of the Northfork Reservoir at very beginning, middle, and end of synch (3 "Diamonds" of synch centered by Lennon's Lucy in the Sky with Diamonds). Billfork as also attached to Herman Park (opposite of Frank Park... more "strange bedfellows"), as well as Pierre's MO location.

The odd way that the beds are joined together in the collage also reminds me, upon further thought, of the similar way that Herman and Frank Parks are joined together physically. The more I think about it, the more I would assoc. these beds with the parks... the beds, physically in the picture, cover a lot of ground, like a park does. The head of the beds here would be south, and the feet north, per the positioning of the Boulder parks according to compass directions.

The awakened eyeball on the upper (Herman Park) bed would probably represent the difference between the two parks – the fact that Herman Park is "priceless" in respect to Frank Park, which has a price, albeit very high. It would, in short, represent the TILE Creek, the missing one from the otherwise confusing equation. That Pierre is now channeling a "Tiler" seems significant here. Pierre the enlightened (through Tiler and also Tippy). Is Pierre the willing pupil here thus? (hummingbird). Diamond substituted by the equally valuable, perhaps more valuable Alexandrite here, especially the one that changes color, as this one does in the collage (treating the two jewels as two versions – in natural and artificial light – of one jewel in actuality).

Before closing tonight, I would like to point out that the green jewel in the lower bed is not covered with dirt/sand, as it would appear outwardly, perhaps, but instead by a glacial mound up in Greenup Gill as pictured esp. in collage #2 of this series (Same yellow color for both, you'll notice). We can assoc. this mound, thus, with the mound "impregnated" with the yellow beam from the giant purple martin's eye coming from lower in the valley, or in the direction of Stonethwaite. That the purple martin figure reappears in the series when we move into the lower valley again with the base photos seems significant (collage #8 and also 12, after 9,10,11 take place at the top of the Greenup Gill valley, or to the North instead). The purple martin seems most tied to Stonethwaite and the nearby waterfall, and not as much the central or upper portion of the Greenup Valley here. In collage 12 and 13, it seems to have been replaced by the similarly colored hummingbird with a longer beak. But back to the mound in 13: the green Alexandrite poking above this mound can be assoc. with the Brazil flag similarly atop the same colored mount in collage #2. The yellowish bed as a whole may represent this central portion of the Greenup Gill, especially as depicted in this collage – may represent the collage itself, actually (lighting is similar, etc.). As the Brazil flag is dominated by a (yellow) diamond, so here we have a similarly valued stone in the Alexandrite, the most valuable version that is able to change colors. The most valuable is found in what appears to be a pile of dirt or sand. Is the jewel slumbering still, while its counterpart on the upper, naturally lighted bed is awake and aware now? Does it represent all that has happened in this little valley in the Lake District since collage #2 – where we have general movement down the valley to Stonethwaite? The scene on the upper bed is early morning, while the artificial light illuminating the lower bed indicates that it is still night. May also represent the healing that occurred between the finding of SID's 1st Oz (Lower bed/Frank Park) and Billfork in terms of the death of my father. These are the beds of the two golden children of parents Dark Side and Sphere. They are similarly sized, like Venus is to Earth. Yet Earth is inhabited while Venus is too hot for life to begin in the same way. Billfork is Earth – more human friendly and more identifiable.

Bedspead of upper bed more silvery, but may also indicate the presence of platinum, or the hint thereof.

Better stop here for tonight.
4

From: baker b. <edwardston@yahoo.com>
Date: Sat Oct 30, 2004 10:49am
Subject: 14, 15, 16

Collage series chugging right along still! 15 and 16 completed yesterday and 14 the day before. 13 turned out to be much deeper than it appeared on the surface I think collage 14, "Old Wake Friend" (left) is a somewhat more minor piece than 12 and 13 (kind of like its counterpart in the lower octave, "Billfork Announcement", is there -- both are also framed, unlike any of the other collages except 7 in a different way. In 14, the idea was to have a wake for the dead fish in no. 11 at a lake. Originally I saw the fish in a bottle top, like the blue/purple topped Sprite bottle on 11 again. It would floating in the lake. Also originally, I saw this lake as being still in the Lake District probably, but at least "over the hill" from Greenup Gill and the location of the pics I had created so far in the series. At the wake would be other collaged images I had separated from their backgrounds so far.* Well, I decided to use the tarn at the very head of the Greenup Gill stream for the photo background this time. This is closer to the position of The Diamonds, which is probably in the vicinity of High Rise (although I depict it in no. 9 on the range to the west of the valley west of Greenup Gill -- will get name later. So the dead fish in that pic transfers to the nearby Greenup Gill as we move back into the valley again from a position of ultimate highness in pics 10 and 11. No. 9 shows this "movement to the north" originally, although I think the Greenup Gill tarn is hidden by the immediate mtns. to the left in the pic, probably almost immediately behind Lining Craig. Back to 14, then. The dead fish became positioned in the very front (dead) center of the collage, on the front end of the tarn from the perspective of the camera angle used. The people/characters of the wake were on the other side of the small tarn. These include, right to left, Martin Prince from the Simpsons (1st time he's directly been used in a collage since #5, where he was subsequently replaced on top of the "Billville Mound" in #6 by George *Martin*), Mossman (who makes his first appearance in the series in #13, a natural addition to this series – but only his head there basically), Opus 19 again (from #11, here partially hidden by Mossman and the next character), Casey the Grass Boy (from #7... face and upper body hidden by grass), and then a new character in the series: Jim Carey's character Truman Burbank from the movie The Truman Show, then beside him standing Baker from #11, then the crouching baker from same and then overhead shot of coach K and 3 referees from #8. So all of these are in a line on the opposite side of the lake. One additional figure in #14 is that of the hummingbird that we first see in #13, here apparently playing the role of the departing spirit of the dead fish, or at least that's one interpretation. In #13, the hummingbird can be seen to play the role of the "willing pupil" of the title, but, in ways, is blocked from doing so by the Alexandrite (red) gem replacing the iris and pupil of the eye staring at it from the upper bed in the collage. In a way, I see this as Hypertheses, a pupil who has no eye to fly into (black hole? transportation into a different dimension through a needed shock?). She was "sponging" off the Paradox Forum for her lexicon, but then its resonation was deadened – another aspect of the dead fish since I stopped posting to the Paradox forum after collage # 10... figured there was no use analyzing these collages there since I decided not to post active links to the collages there. Thus the reason for the creation of this totally private forum, where I then analyze all subsequent collages beginning with no. 11. The purple martin would be a symbol of our shared creativity – shared for a time anyway – after the demise of the old Synchpatch forum. Interestingly, in the collage series the purple martin is attached to a certain position in the valley, most specifically in the waterfall area shown in collage #8. There its eye is illuminated, obvious resonation with the similarly illuminated Vega star of the Lyra constellation in collage #3, which, in turn, is symbol of the 32 part Wizard Cube or Rainbow Sphere (4 divisions or corruptions of an original cube, represented by the Vega star itself). It is nighttime knowledge of collage #3, used to absolve the evil-good dichotomy observed by Coack K in collage #3. But even then, in scary darkness, the situation is in hand (Coach K holds head of Satan in his hands, along with the temptation apple). Coach K is obviously symbol of Mark & Michael Polish, as his image is overlapped with the character played by Mark Polish (evacuatee, partner of father played by James Wood). The hidden factor of Northfork is Billville (Boom Dot Bust), as we've talked about before on the Paradox Forum (need to copy those files over here). Coach K/Polish Bros. are beginning to recognize this through the sky show in the middle of the night on the Billville Mound in Greenup Gill Valley in collage #3. This is the beginning of the
reversal of the pages in the Fall 87 Sketchbook where we have Satan (Bob Knight) stealing something valuable from Polish (Coach K, but also symbolically the Polish Bros.), which turns out to be the knowledge of Billville, and that Northfork and Billville are two sides of one coin. Here on the Billville Mound of the series, Coach K is able to realize this through the symbols of the sky mirroring that of the center of the Brazil flag, or the celestial sphere in the center of the yellow diamond on a green field. Brazil=Billville, as we've discussed; at the center of the Brazil flag parallel in F87S (page 25), we have Bob Knight as Satan, complete with horns and a pitchfork (in direct way, resonating with bill*fork*, and billfork is also a pitchfork according to old English definition). He appears in a circle withing the purple martin in that pic, obvious reference to the similarly purple sphere at the center of the Brazil flag. Purple martin is a Satanic symbol here, or, at that time, carried the vibration of what appeared to be evil. This would be an aspect of its Mercurious nature– it is able to wear the face of what is projected onto it. But also an obvious reference is to night – purple darkness. In collage #3 from the new series, the night sky is illuminated through the stars on the Brazil flag, with Vega substituting for the star representing the capital of Brazil in Brazilia (probably need to study that city, come to think of it). Billville is revealed... Northfork does not exists by itself any more (nor does Billville). The subsequent collage after no. 3, or "Billfork Announcement" (no. 4), shows that this union did indeed take place... in the center of the (purple) night like a conception by a loving couple. This is an announcement, thus like the birth of a baby. The night is rescinded, and the ark in the picture is illuminated, seemingly by the weak light of a new, dawning day. The ark is the thing created, the center of the center, and in another way represents Arkansas or Synchpatch, USA in that state. The ark is in the center of the Billfork synch, as I've discussed it on the Paradox Forum, and then the elements to the right in collage #4 also highlight this center, or the boat seen during the Lucy in the Sky with Diamonds song floating on the central lake, and also the stack of diamond rings below it also referring to this central Lennon song (the "diamonds") from his Beatles days. So the announcement is for Billfork, but also the center of the synch (art, L.S.D.) is highlighted to show its edge over the otherwise parallel SID's 1st Oz... this would be the hint of platinum at its more manipulated center, which is also parallel to the Elmertown underground opposite to Billville in the Boom Dot Bust album... Elmertown, in the Billfork synch, represents video editing in ways, especially seen in track 16 of the album in the synch (the core Elmertown scenes, overlapped with 4 separate scenes of Irwin trying to convince the angels of the movie that he is also an angel.. the lost angel they seek... the "glueing of these 4 separate scenes together is parallel to the Martha Glue-it track (16) spanning all 4 scenes from the movie. This would also be like the collaging of the 3 separate towns of Leaksville, Spray and Draper in NC to make Eden , or L+S+D.

Moving back to the purple martin bird symbol, in collage #7 we have the LSD boat from Billfork reappearing, with the stack of diamond rings (diamonds) again just below it, as we have in collage #4. The boat is about to fall into the diamond ring stack apparently, following the flow of the Greenup Gill (which it is floating down, despite the fact that there is obviously too little of water in the stream to support the boat in this way... more surrealism in action). The two merge in Billfork because they are united in the same song: Lennon's LSD. But in collage #8, we also see that the stack of diamonds is also the same as a waterfall on the Greenup Gill, and the row of Coach K cubes, with Coach K emerging from them, birth style
again, is obviously connected with the flow of the Greenup Gill again coming down from the Billville Mound, as we'll call it.

This is absolution because Coach K realizes that the evil he encountered before, in the F87S in the center of the Brazil Flag in the form of his mentor Bobby Knight, is actually an illusion caused by the non-understanding of the dual nature of Northfork, and seeing the "flipside" of Billville. Billville, as hidden (flip) aspect, would be equated with Satan in the traditional religious terminology (Christian). Absolution would be the forgiving of the belief in evil itself, an important concept perhaps. Exposure of the Polish Bros. and their Northfork movie that they put so much hard work into (years and year and years) to harsh criticism has been relieved with the understand of Billfork and its significance. The Bros. can then symbolically shake hands with the critics and all others who do not understand the movie because they now see a higher purpose for it, and why some would be turned off to the otherwise surreal nature of some of the scenes... bad scripting, it seems.

Back, then, to collage #14. First, though, I should follow through w/ the martin image because it reappears in collage 12, where it is outside the basic scene being acted out in the center of the Stonethwaite village just below the waterfall in #8. The martin bird has not ranged far out of its territory (seen in collages #2, 8, 12 so far... and also a diff., simpler martin image is the very first collage). But in 12 the martin bird is behind two buildings, unable, it seems, to enter the main part of the picture at the center of the village. It has seemingly been displaced as we now move just outside the Greenup Gill valley. Corr. to this, the Coach K row of cubes in collage #8 have been reversed – sticking up from the miniature version of Stonethwaite in the lower left of the pic. "K" at the end of these row of "coach" cubes has been replaced by the letter "D", which is obviously tied into the D is 4 Denver projected (platinum) synchronicity. I've already analyzed how I think this is a symbol of the Plain of Dingos, according to Tommie's mythology, and perhaps a place that Billfork (martin) can't go into right now... can *hint* at platinum a/v synching but can't enter fully into that lighted, more populated area. So Billfork – the martin – is confined to the Greenup Gill valley for now. So tied to this, in the next collage in the new series, or #13, we begin to move back into the mtns. above Stonethwaite and into the Gill again. But the martin bird has seemingly been replaced by the similarly colored hummingbird, a smaller but faster bird and with a longer beak. Is the nature of the pecking beak being realized by the "willing pupil" now? Is the fact
that the eye of the "teacher" here on the upper bed (a symbol of Billfork again, but also Pierre Schaeffer as identified with Billfork) is filled in with a jewel a symbol that the bill doesn't need to peck now, and that it must withdrawn from projection and become a receptive pupil. The jewel is the red Alexandrite, and Alex is directly connected with the name Gill in my own mythology– Gill Ck. is a major tributary, probably the major tributary to the Alex Ck/River in Mythos. Billfork, if it is still identified with the hummingbird as transformed from the purple martin, has transformed into a different kind of bird but with similar features – bill accented more, fast paced wings, aggressive nature heightened. Collage #13 is actually a
pretty deep one. The bejeweled eyeball may be another representation of the Stonethwaite village scene, and the fact that it cannot be penetrated by the martin bird, now transformed into a hummingbird. The hummingbird image actually appears first in collage #12 as a trace image in the orange octagon shape the central lad of the pic is wearing (for protection? as a type of prison or cage?).

As Gill Ck. is the major tributary to the Alex R. in Mythos, and they meet in a city called Gillalex which is a merger of their names and which is the 4th largest city of Wazob overall, perhaps Stonethwaite is also a symbol of Alex, or Gill "emptying into" Alex. This would go along with the fact that the two jewels, oppositely colored red and green in the picture (green in natural light, red in artificial light), are *Alex* andrite (Alexandria is the city at the mouth of the Alex R., or the second largest on this river in Mythos).

Must finish this another night.

Baker.
5

From: baker b. <edwardston@yahoo.com>
Date: Sun Oct 31, 2004 6:01am
Subject: 14 (not really)

Let me move back to 14, then (leaving all this quite interesting discussion of #13 and Alex and Gill behind... but I feel much more synchronicity in action behind that. Perhaps it will be explored in future collages... count on it.

Pierre is the eye because he is at the eye of the Race Around American that is MapS research. He appears in #11 in this guise at first. Illuminated for him are the 3 parts of America in this way, or Atlantic, Central and Pacific. Appropriately this illuniation happens within the confines of The Diamonds, and the 3 Diamonds of Billfork represent the 3 parts of America as discussed before. Billfork also has 3 artists to cover these 3 linear parts, and both of these triangles are represented by red (east), green (central), blue (west). So two ways to represent this triangle that is "illuminated" in 11 (through the red, green, blue Opus 19 and also the mirroring red, green, blue marbles on the *fork* that Pierre/Irwin holds in this collage. The fork replaces a cup in #10 that Crouching Baker has carefully placed there, and in one way this represents the collage of Billfork itself, where the three artists centered by Firesign Theater and their Boom Dot Bust/Billville are pasted atop the Northfork movie. I think that in #11, when this cup is replaced by the 3 marbles, this connection is reinforced because the marbles represent the 3 artists used in Billfork by baker b. The 8 tulips which the 3 marbles on the end of the fork center... they are like spokes on a wheel with the marbles at the hub... are probably a symbol of the 8-part Billfork core diagram, which is, in turn, a symbol of the alphabet used to create language. This fits in with the "one pink" title of the collage, which refers to *lips* via Helen Keller quote, and that the two tulips closest to the eyeball here represent these lips, to complement the eye and ear that was formerly Irwin's head (atop Pierre's body in both 10 and 11 here). This, in strong ways, is symbol of Keller as deaf, blind and dumb. Probably also ties into Tommy in some way I don't recognize yet, perhaps as translated through the Horton Hears The Who synchronicity. The lips speak the alphabet (Billfork Core Diagram).

The apparently dead fish in #11 is symbol of 1st tier, or collages 1-10 of this new series of works. It has now been passed. It also represents the end of the Paradox Board, a public forum, and the reason I switched from the Paradox forum to this one for my discussions of the new collages is that I didn't want to put links to these images online. Here I don't have to, since I can pull them up myself in another window.

It has to be recognized that this has a lot to do with Pierre's novel (That Ass Pierre), and his overall situation in MO. Pierre, to his great surprise, finds out he has a talent for channeling, which is somewhat similar to Keller losing her major sense of sight and hearing. We turn inward now for the new messages in the case of channeling, and away from the physical senses. The fish that has been "absorbed" by the two headed bird is also Guin from the Pierre story, or the twin of Len(nie) he befriends in MO, above and beyond his more professional relationship with Lennie. Lennie wishes to become Lennie Byrd but must remain Fish, as Guin remains Fish mainly because of she is a lesbian and perhaps cannot legally marry. Lennie Fish must remain Fish because her husband (Larry Byrd) dies at or before the beginning of the novel. Perhaps the dead fish in #11 represents a reversal of this situation, and that the marriage has taken place in this case and Lennie and Larry have become "two Byrds in one" through marriage and the placement of a *diamond* ring upon her finger. It is a symbol of conjunction, thus, and this proposal symbolically takes place at The Diamonds roadside diner, where Pierre presents Lennie with the diamond engagement ring. So perhaps collage #11 represents a perfect world for Lennie and Larry envisioned in this diner on that day/night, which was subsequently shattered by the death of Larry of (scorpion bite). This would be a direct continuation of Larry Diamond in Robbins' ½ Asleep in Frog Pajamas having rectal cancer but perhaps getting a cure for it at end of novel. Here – no such luck. This is also reversal of Larry Birdbeing survivor of twin headed Larry Bird-Lenny Bias Boston basketball forward, greatest two headed forward in the history of the game. In Pierre's novel, Lenn*ie*, not Larry, survives.

Perhaps where the Byrds sit, and then are replaced by the *3* headed bird of Opus 19, is the very booth where Larry proposes to Lennie... an odd place to do this, actually... Larry as a cheapskate, at least in part?

I think this dead fish also strongly represents Irwin from the Northfork movie, who is directly related to John Lennon in the Billfork synch. As Irwin is assoc. with Daniel Boone (through Daniel *Blown*... more on that in a minute) in the Billfork synch, so the place of the death of Daniel Boone in USA, or Defiance, would also represent, in ways, the death of Irwin in Northfork and flooding of town Northfork itself. The end of Billfork as well (and Billville/Northfork duality). This death would identify, oddly, the eye of the USA in this general spot as well (only US Eye is in general region as well). T shaped "crop circle" in this village also is a spotlight. Defiance-Gray dual proximity with pair in IA also important here, as the attached IA "magic square of Saturn" mentioned in Booker T. Archive also highlights Daniel Boone, it seems, through resonation of E-M-K in IA and KY. Man... Daniel Boone as a MaN. The overlap of Boone with "Blown" in Boom Dot Bust presents us with another obvious link, and I think it refers to the two major cities of Watauga County in Boone and *Blow*ing Rock, although this is synchronicity because Firesign Theater didn't mean to assoc. the two on purpose. In the album, Daniel Blown is reference to his role as a great tornado trapper in the album.

Will end here for tonight.

Baker.
41
From: "baker b." <edwardston@yahoo.com>
Date: Fri Dec 10, 2004 1:14pm
Subject: Floydada posts 6-10
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From: baker b. <edwardston@yahoo.com>
Date: Tue Nov 2, 2004 3:23am
Subject: 14 (not really again)

11/01/04:

Back to analysis of 14. Here we have many of the full figures I've used in the series so far gathered together at a wake, for a fish. The dead fish lies in front of the pond to the viewers eye, and the mourners (?) are aligned at the back of the small body of water. In the next 3 collages which I've subsequently created, most of these figures will be used again in the series.

In collage 15, "What Goes In..." (right) we have the reappearance of the waving Truman figure, this time combined with Martin Prince collage items we find first separated in collage #3. These include a magnifying glass, eyes (one eye, in this case... the second Martin Prince eye will show up in the next collage, #16), and an apple. The single eye covers the enter Truman head here, and the magnifying glass is held in the right hand along with a tweed suitcase, and the apple is held high in the left hand. Also from collage #3 we have, hanging atop a mtn. in the distance, the giant head of Satan superimposed upon the body of Coach K. In collage #3, Coach K is holding the Satan head instead of it
acting as a substitute for his real head. This represents having "things in hand" (he is also holding the apple), or that the merger of Billville and Northfork in Billfork resolves former problems symbolized on pages 25-26 of F87S. Coach K is not afraid of the Satan figure now, and knows that it stands for Billfork and the "dark side" of Northfork town in Billfork town (two sides of one coin).

In collage 15, the Truman figure, now w/ Martin Prince images superimposed on him (Martin appears again in series in collage #14,after disappearing from it for a while after #5, where he transforms into George Martin in #6. It may turn out that Martin Prince is only making a return cameo in the series, and that he has been replaced by the images attached to him: apple, magnifying glass, and bulging eyes. Maybe use his hair as well (?) So after appearing in collages 1, 2, and 5, Martin P. has basically disappeared outside the cameo of #14. George Martin has not returned since his presence on top of the Esau Jct. hill in 6 and 7 either, although he may (combine with Pierre Schaeffer image... both at mixing boards?). But now Truman assumes the role of Martin, and we must, of course, include the images of the Martin bird in the series in this archetype, which appear in 1 (diff. image than used elsewhere), 2 (yellow energy shooting out of eye and "fertilizing" Billville mound or Esau Jct. mound... probably should call it the Billville mound (?)), 8 (at end of cubes Coach K/Duke is emerging from, merged with Lyra symbols of collage #2 and eye illuminated again, this time in white), and 12 (seemingly excluded from "Denver/dingo dominated village of Stonethwaite... can't enter civilization or escape the natural preserve of Greenup Gill... trapped in lower part of that valley, it seems... unable to make Gill into *Alex* (andrite). In 12, thus, the martin bird seemingly has discovered its limits. It, as a male figure, has seeded the Billville mound, and after a period of illuminated night/darkness which mirrors its own dark or purple nature (mirrored in purple sphere at center of the Brazil flag, a symbol of the celestial sphere), Billfork is bourne, a combination of Northfork and Billville (male and female, seemingly). The announcement of the birth comes in collage #4 (on the collage itself: "A surrealistic encounter with the artists. A definitive masterpiece"!). The father appears to be the bird form of
Martin, but as Martin Prince, it is also the son (?). In #5, Martin Prince appears again on top of the Billville mound, waving the Brazil flag that first appears on this spot in collage #2. This seems to reinforce an assoc. with Billville, as Brazil=Billville according to my calculations. In #2, Martin P. is moving down into the valley from a perch above (Lining Craig, in actuality), but in #5 he has found his goal in the middle of the valley – the mound; the creation of Billville and Billfork as well (is Billville created from Northfork?). He holds the secret of the Brazil flag (=Billville) in his upraised hand. Collage #5 obviously repeats all of the elements of collage #1, with the additional aspect of perspective. The Millboro tunnel in the background is the same as the niche in the first collage, and the Esau Jct. photo of an *active* rr in #1 is changed into the present situation at this now deserted crossroads, with the rr tracks pulled up. Martin P. again stands on this mound. In the foreground appears his pan of "sweetbreads" as we'll call them, as on collage #1 again. The purple martin in the transparent flag (with purple border) is also obviously the double of the Brazil flag Martin P. holds in #5. #5 is a 3-d extension of #1, thus. The most imp. element may be the combination of the Esau Jct. landscape directly into the Greenup Gill valley here, the Billville mound in other words. As Esau Jct. is closely allied with Greenup, OK, we essentially have 2 mergers of Greenup here, reinforced by the Casey Grass boy in collage #7. Casey-Greenup-Yale, OK and IL. Casey is the Key).

Must make new collage with Cayce replacing Casey (the Grass Boy?). Grass Boy is another symbol of the Billville mound, as the grass he holds obviously mirrors the bushes at top of this mound in #5, 6, 7, with the Casey Grass Boy appearing in 7 himself (grass tilted in opposite direction from the bush on the Billville mound). His head and upper torso is covered with the grass, as the new Martin image (George)'s body is covered with the bushes of the Billville mound higher up in the valley. Then in 8, we have the actual birth moment of Billville or Billfork – possibly both at the same time, as Coach K exits the row of cubes that is the same as the flow of the Greenup Gill. The waterfall represents birth, an abrupt change of planes. (foxes and dingos?). Good and evil are reconciled... absolution is found. Forgiving of sins because there really is no sin except that of forgetting how to play the game, or that it is all a game to begin with. The game is over... Coach K shakes hand with the former enemy (referees). The martin looks on, satisfied, apparently, that the energy of Alphanumerica has been understood (illumination of the alphabet and also numbers through the Lyra constellation and especially Vega). Perhaps Coach K is a father figure here, as the Polish Bros. are fathers to Northfork but also Billfork (Firesign Theater as mothers?).

But this birth and accompanying celebration is not the end of our story. Meanwhile to the north moves us up into the top of the Greenup Gill valley above the Billfork mound now. The Jigkansawyers, or the Sgt. Pepper version of the Beatles entrapped in a jigsaw puzzle
mirroring a bend of the Greenup Gill just about the Billville Mound, have now broken apart for some reason, and are heading out of the valley it seems. One of the 4 jigsaw pieces touches a grazing sheep on the slope just ahead of us, and stains its wool the same color as the tip of the piece (color of Paul's Sgt. Pepper outfit, or blue-greenish). Also flying north is the cake with the fork in it which appears in the series before in scene 4, the Billfork Announcement. This comes directly from an ad of Northfork movie, I believe. It is a leftover image, and will now be expanded on. The Diamonds roadside restaurant, largest in world and known from coast to coast, appears in Collage #9 on a backing mtn., illuminated in the sun. For collage #10, we move inside The Diamonds, and see a strange situation where Irwin from the Northfork movie, with body of Pierre Schaeffer, is sitting opposite a two headed bird, and in the background between them, two images of Baker B., with each image interacting with an aspect of one of the two foreground images. I've analyzed this collage earlier – the two images represent that of
manipulator (collager-as-artist) and non-manipulator (collager-as-synchronist). The placing of the cup of T(ea) atop the fork held by Irwin/Pierre represents baker creating the collage of Northfork in the first place, with the cup representing the 3 audio artists (Pink Floyd, Lennon, Firesign Theater) used in this creation and the fork is Northfork itself (held up... north... which fits in with the theme of previous collage of Meanwhile to the *North*). I think this is obvious, especially since Irwin of Northfork holds the fork. In the Billfork synch, he is strongly identified with John Lennon as well, and Lennon has just appeared in collage #s 5, 6, 7, first as a Sgt. pepper doll (largest of 4 fitted Beatles dolls in the foreground, as Martin P. images appeared similarly in foreground of another picture taking from this same perch in Greenup Valley (Lining Craig), then as an image, a "Jigkansawyer", in the jigsaw puzzle Sgt. Pepper cover (which has "absorbed" the Beatles doll images of same in transition from collage #5 to #6), and also an image of a slightly younger Lennon from perhaps the Revolver or Rubber Soul days that appears with the George Martin image on the Billville Mound. Martin P. and the 4 Beatles dolls in 5 has changed into George Martin and the actual 4 (black and white) Beatles in #6... perhaps going back in time to when the Beatles weren't imprisoned as Sgt. Pepper figures... trapped in refracted color? 4 pieces of Jigkansawyers subsequently fly apart, perhaps, because this is in future, this Sgt. Pepper state and subsequent decline of Beatles until the end in 1970. Perhaps the very north end or top end of this valley represents also the end of the Beatles, and The Diamonds represents the encapsulation of the 1st John Lennon *solo* album after this demise within the Billfork synch. Beatles songs, in contrast, appear in *fragmented* form in same. Billfork is resolution of Beatles.... probably should send Jordan copy of Billfork as well as various parts of the Beatles-Jordan Project. After Sgt. Pepper especially, the Beatles begin to move in their own direction, starting with MMT, but really manifesting overtly in the White Album from 68. Parallel to this, the jigsaw pieces are all moving apart in collage #8, Meanwhile to the North.

I'll have to continue this another night.

Baker.
7

From: baker b. <edwardston@yahoo.com>
Date: Wed Nov 3, 2004 3:54am
Subject: 15, 16, 17

Oh Lordy. Looks like Kerry is going to loose. What WILL WE DO???

Collage 17 especially is about the election, but probably the Jim *Carey* figure in 15, 16 is loosely John Kerry as well. Carey figure first shows up in 14... didn't use him because of the association of Carey with Kerry -- only thought *consciously* of that later -- but I think it is obvious in retrospect. Explore idea of Kerry being *black balled*, esp. since Carey/Truman's head, in 17, is covered by black marble. White marble in sky, which represents God (as Truman is aligned with Satan and forces of evil in 15, 16). This also obvious points to dichotomy of Dewey Wins in 1898 and loses in 1948, 50 yrs later... meaning of paper in pic which shows erroneous election result of '48, declaring eventual looser Dewey to be the winner Could a
turnaround be in store for the present election. Probably not. Must get use to Bush being around 4 more years. MAN OH MAN.

In my collage series, though, I won't forget about Kerry and his causes. Will carry them onward. Greenup Gill is removed from the real world, sorta like Oz. Use images of Herman Munster in these collages -- Kerry as "You're a Herman Munster". Mossman as a *He*-man in contrast. Bush as foolish he-man, a Hemmy. He-me.

Perhaps in next collage, which I'll create Weds. and Fri. -- into the weekend if necessary -- will use Herman Munster image -- perhaps Carey w/ a Herman Munster hairdo at least (like in the Jib Jab cartoon). Just yesterday thought of using Martin Prince's hair as another symbol
for him, along with what I already have (apple, eyes, magnifying glass). So maybe use both in one collage. Combine Mossman with Herman (Munster... Frankenstein... Frank Einstein).

Oh, what I was going to say earlier is that the Truman image is a new image in the series beginning with 14, but I didn't use him as direct symbol of Kerry. (use images of Drew Carey as well?). Instead, in looking at images I had on work computer for figures to use in wake in 14, saw that Truman image used on my web site in combo with Psycho Mother (similarly smiling) was only other seemingly suitable in this respect besides ones I'd already used in the series before... added last one of Mossman in previous collage (13).

Smiling Truman = smiling John Kerry. Waving as usual to crowds. The fish in the front may represent his fate... election day death.

Must explore idea of Jigkansawyers. Connect with Synchpatch in some way. Will Synchpatch be transposed to Greenup Gill valley in this way... Giant White Man's Dog? Find images of Diamond, the Great White Man's Dog. Diamond Cave (Mystic/Dogpatch Caverns?). 8 sided (mud) hut will be built on the jigsaw piece. (hummingbird feeder?)

Study history of Jigsaw puzzles. Use Sgt. Pepper jigsaw puzzle, poured out beside Greenup Gill, as an image in future collage. Denver helmet used to cover jigsaw jut. Becomes night sky – celestial hemi-sphere, when it covers this. Night comes again in the series, as it does in collage #2.

8

From: baker b. <edwardston@yahoo.com>
Date: Thu Nov 4, 2004 4:13am
Subject: 18 (projected)

Tempted now to use one of pics of Eagle Craig, probably the nice one from the freeservers site (also use pics from this site for those on the next tier especially), and somehow superimpose the glowing word "Meramec" from the Meramec Caverns neon lights on the mtn., or perhaps a cave on the mtn. that represents these caverns.

Rearrange MERAMEC to spell AMERECA. Show someone rearranging these letters? In Pierre's story, he has vision of dragon pouring out of mouth of Fisher Cave next to Meramec, but nothing is said directly of Meramec Caverns in terms of this vision.

Want to put Sylvania Cememtery sign to Eagle Craig to represent "operating Sylvania TV" again, as we have in the F87S directly.

I have a new "K" I could use in this.

Eagle would refer to the American AMERECA Eagle. Position Eagle on top of Eagle Craig.

In collage 10 and 11, looking ahead, think I'll use the "Vega Rooms" found online.. uses Vega image from Vasarely... synchily there is Vasaraley Rest. on Beech Mtn. Oz emphasized again. In this room may disect a CHROMAcube.

Herman (Munster) will definitely be used in the next collage. He will be heading into Greenup Gill Valley again from Stonethwaite direction, where this Gill empties into [Alex River, as Alexander/Alexandrite]. Herman MUnster is not a Truman (True Man). Not a Daniel Boone.. or is he?

Sylvania Cemetery sign may be over position of waterfall instead. Google "Eagle Craig", but I think I'm going to use the one from freeservers.

In collage 18 or perhaps 19, I'll use the image of the fox FOX 666 at the top of the waterfall, and a dingo at the bottom. Dingos rule the Stonethwaite village below the waterfall, as we have seen in collage #12. Possibly represents very young Beatles, before the artsy albums of Rubber Soul, Revolver, and Sgt. Pepper. They are innocent children at play. The orange D of Denver reverses the blue K at the exit of the Coack K cubes in collage #8. The importance of the nightime martin has been reduced. Must understand MARTIN more.

Hummingbird follows Herman into Greenup Gill Valley.

Use diff. pic of waterfall in this valley for collage 19. Slightly diff. angle. Do rocks still make parallelogram of Lyra Constellation?

Perhaps a FOX with 666 on it. Represents another aspect of Mercurious, as the Martin itself does. Greenup Valley... is it the same as Brainard's valley. Sealed off, like Altoona/Altana... or Oz. Herman becomes a Dorothy (Gale) symbol here as he heads into valley.

Use my image with Tinman, Scarecrow and Dorothy from Land of Oz photo in collage #19, perhaps. Put tuff of Bush on top of Eagle Craig, held by Satan's (Frightened Coach K)'s hands again.

Collage #19 title: Plains To See (?)

Study the Booker T. Archive more, now that it appears Greenup Gill Valley will be assoc. with Brainard's likewise sealed valley in the Sirius System on the Mayland Continent. Synchily, perhaps, the Greenup (yellow down) e.t. hunting club, as baker calls it in this Archive, I believe, is all about tracking down Brainard and other aliens from the Vegan and Sirian systems.

Have cup of tea from Collage 10 with 3 marbles in it... put this under Meramec AMERECA inside Eagle's Craig?

Put Wilson-Wheeler sewing machine in collage #19 as well. YES. Get better pic of FOX.

9

From: baker b. <edwardston@yahoo.com>
Date: Fri Nov 5, 2004 4:06am
Subject: 15, 16

Amazingly, perhaps, the collage series is now done. Must think about archiving all the drafts and also images I've gathered. Put them on CD? Print them out??? The drafts themselves make for a record of the creation of the collage, a kind of animation in itself. The fetus in the process of gestation, with birth as the final product. The collages took between about 3 to 7 or 8 hours to complete once the images were in place, essentially. Thus about the same as one of the simpler collages such as the 2 from this summer.

Must think of how to classify these collages in terms of the a/v synchs. Obviously it is much easier to follow up one of these new kinds of collages one after another than the a/v synchs, which are usually spaced months apart.

The collage series (must get name) runs 20 individual collages, with the 20th the same as the first. (technically the 21st... I've decided to make the two Finding the Niche's identical right now... that may change. 21st is same as 1st for sure, though. The whole thing goes in a giant loop, which is divided between two parts of 10 collages, 1-10 and then 11-20. Again, 1 and 20, the beginning and end, may be exactly the same (it is right now, at least) but may change. Also an important part of this overall design is the fact that each 4th collage has its ackground and basic symbolism duplicated in the next collage of the series. This applies, firstly, to 5 and 6, then 10 and 11, 15 and 16, and, lastly, 20 and 1. This makes a kind of symmetrical fourfold structure -- a square -- within the overall pattern. This is another way we can analyze this series. The transition between 15 and 16, especially, implies a kind of animation between the two could be made... very easily, in fact. May create one if get Kim's monitor soon. Next trip to Asheville (Thanksgiving?). Also important to note in terms of the overall structure that 5 and 6 and 15 and 16 basically take place in the same location... the center of the Greenup Gill valley. Technically, 1/20 also are located in the very center of this valley, or at what I've elsewhere called the Billville Mound. Collages 1 - 5 can be seen as statically taking place or being set in this center, but then with 6 movement is implied away from this center, a movement which continues through the whole series and is framed by The Diamonds restaurant symbolically on the Greenup Divide at the end of the valley, and then Stonethwaite close to the mouth of the Greenup Gill. Collages 6, 7, 8 show a southern (downward) movement away from this center, and what is implied is a movement as in a fetus moving toward birth (waterfall of 8 = birth hole). Collages 9 and 10 imply a movement in the opposite direction, if one is paying strict attention. The title of Meanwhile to the North is direct reference to this. In the far right of this collage, we can make out the jigsaw piece-like bend of the Greenup Gill featured in 5 and 6. We are moving away from this center in the opposite direction... toward the North. An assoc. with the Beatles career is implied here, with center being the single Penny Lane/Strawberry Fields (the Billville Mound) between Revolver and Sgt. Pepper albums. Although the center is also obviously the Billville Mound, in another way I see it as the jigsaw bend of the Greenup Gill, which wasn't fully developed in the series, it seems... had further plans to set the next stage of the series there.

Envisioned use of several TILE animations in next series. They will be somewhat like MANTRAS (yes!). The new collage series is mostly the direct parallel of the Fall 87 Sketchbook in that it is a serial story told in successive pictures with directly related imagery. It is like Ernst's collage novels. It, like the F87S, occurs at end of long writing period, last time the
Illumination of AA and related works (Dump, Merging Tracks, The High Octave Story), and this time the 10x10, and it is especially related to the 10th tier created on the old Synchpatch Forum, which, I suppose would be kind of fill the role of the High Octave Story in the present
scenario.

More art, I feel, will surely follow, perhaps a/v synchs but most likely more collages like the ones in this series, probably combined with animation in some way.

Back to the series itself. Well, I've talked about collages 15, "What Goes In..." (left) and 16, "...Muscovite" (below, right) some but not fully. You have an opposition of evil (Satan) and good (God) in 15 vs. 16, and this is reflected in several ways. The process of something going "in" in 15 (the ground... the yellow flaming car that the Truman/Martin figure is dropping, an image taken directly from the Sgt. Pepper album and thus related to the jigkansawers of collage #6... more on this in a moment, perhaps), vs. coming "out" in 16 is one way of seeing this. The car from the Sgt. Pepper album with the yellow flames coming out of it I just mentioned parenthetically above, in the album, drops into an "o" mysteriously positioned at the end of the word Beatles spelled out on the grave in the lower part of the album... the grave representing the death of the old (black and white) Beatles summarized in Revolver especially. The hole represents a reinforcement of the hole of the grave, the place of burial. Also, the car in the album is seemingly attached, via a just barely discernable line, to a model car placed atop the Shirley Temple doll sitting on the old woman cut out directly above. Also on this line, in-between Shirley temples dangling, red slippered legs, are three tiny regions of red, green, blue colors roughly shaped like cars themselves... too small to tell much about them, and they're basically invisible except for on the vinyl album cover. Also something I just thought of: according to. the Paul is Dead theorists, the model car is an Aston *Martin*, the kind Paul was driving when he had his supposed fatal wreck and was replaced in the band by a double.

The line of flaming cars in collage 15 directly mirrors this line of cars on the Sgt. Pepper album, and directly continues the symbolism of collage 6, where the Sgt. Pepper album images first appear in the 4 jigsaw pieces (leaving out the cars, which would lie just to right of the 4 central Sgt. Pepper Beatles figures). Instead of a car in his raised hand, the Truman/Carey figure here holds an apple, another symbol of the fall of the Beatles, as well as the fall of MaN overall. That this apple derives from a Martin (Prince) figurine also seems important... resonates with the Aston Martin model car next to the "bloody glove" on the Sgt. Pepper album.* The Martin assoc. with Truman/Carey here is reinforced by the presence of the magnifying glass and "Martin eye" (singular in this case) from the Simpsons figure set as well. George Martin is also implied here, the genius producer of the Sgt. Pepper album.

The assoc. of this Fall with Satan seems to represent the 2nd half of the Beatles career, Sgt. Pepper and beyond, as a Fall as well, also attached to apple via the ill conceived Apple Corp. The Sgt. Pepper vinyl album was centered by an apple, and was the first record attached Apple Corp. All subsequent Beatles vinyl albums were centered by a picture of an apple. Corr. to all this, Satan figure in sky holds one half of the Casey the Grass Boy's figure in the air, between his hands. This is image from earlier in series, or Coach K holding head of Satan and also an apple in these same collaged hands from #3 of the series (Alphanumerica... rename Alphanurmer*e*ca?). The other half of the Casey Grass Boy is found in the directly connected collage #16, which is made on the same background as 15, as discussed before. Satan is replaced by God in the sky, and Casey the Grass Boy, the lower part of him anyway, remains untouched by the God figure. I think this represents the earlier (first half) part of the Beatles professional career in ways, and the flaming car of the former collage is replaced by that of the similarly colored and shaped yellow submarine, an image first outlined in the previous Revolver album through the Yellow Submarine/Eleanor Rigby single. Here in 15>16, we seem to be moving backwards in time from Sgt. Pepper over the Penny Lane/Strawberry Field single back to Revolver.

Furthermore, in Paul is Dead theories, the yellow sub and this flaming car from Sgt. Pepper cover have been directly connected. Yellow sub as coffin kind of idea. I see the yellow sub as a healthy (live?) version of the Sgt. Pepper coffin, or perhaps as a death that can be turned back into life (what goes in... must come out). But not as in turning back the clock from a moment of death into a past life again, but more the rebirth of a soul after the death state has been followed through to its conclusion. The flow of the Greenup Gill from the tarn the Truman/Carey figure is dropping the flaming car into to the place where Crouching Baker extracts it from this Gill further down the valley would = the death state.

It also should be mentioned that, synchily, the yellow sub(s) Crouching Baker is extracting, fisherman-like, from the Gill (Gill, interestingly, is the name of a fish I use to fish for with Tom Peterson in the golf course's lake). makes a diagonal line in comparison to the straight up and down line of the falling car in the former collage. This diagonal to horizontal contrast is highlighted by the two apples of the pictures. In collage 15, Truman/Cary is holding a green apple in his upraised hand. In collage 16, the matching "...Muscovite" (right), Crouching Baker is holding a red apple between his arms, in a much lower position in relationship to his body but, in terms of the two pictures, at a place directly on the same latitude as the green apple of the former. In addition, the diagonal of yellow sub(s) is pointing directly to a place just below the tarn where a hypothetical 3rd apple could be placed, making the outlines of an overall rectangle at the center of the picture. Diagonal is related to the movement of the Bishop in chess, I feel, and the opposition with the Rook... bishops can move diagonally across this board but not vertically/horizontally, and rooks can move vertically/horizontally but not diagonally. These two types of movements are combined in the Queen, which can move in both modes. Here in directly related collages 15 and 16, the diagonal is assoc. with the forces of Good (God... life) and the horizontal/vertical with Evil (Satan... death). Diagonal over Horizontal/Vertical implies that Life, Eternal Life perhaps, crosses and nullifies Death and Eternal Damnation.

That title of Collage #16 is not "...Must Come Out" but "...Muscovite" is also meaningful. Muscovite is a resident of Moscow, traditionally seen, at least when I was growing up during the Cold War years, as the heart of evil in the world, the center of world Communism. The red apple Crouching Baker holds is, in ways, symbol of this "evil" or another way that the evil is "in hand" now (as Coach K holds the head of Satan and the apple in Collage #3... in 15, the Satan head becomes his head instead... he is possessed, and does not have things in hand, although he holds half of the answer here, it seems (½ of Casey the Grass Boy). As in the Beatles' song "Back in the USSR" from the White Album, where the Jigkansawyers have already "flown apart", Moscow here is reversed from this position, and is seen as a place of higher good. Marxism as a good idea... even better than Democracy in principle (more equality among men), and withdrawn from its corruption in Soviet Communism, especially Stalinism and the like. The great Red threat, the projection, is withdrawn. USA is seen as bigger threat,
ironically enough.

The red vs. green imagery implied between collages 15 and 16 here is a direct continuation of the same in collage #13 especially. Must read over analysis of that collage created earlier before further comments here. Alexandrite symbol is important, and fact that it is found in Ural Mtns. of *USSR* just beyond Moscow. Red apple is one version of Alexandrite, green apple is the other. Two aspects of one thing, seemingly opposite but actually joined at the hip.

Baker.
10

From: baker b. <edwardston@yahoo.com>
Date: Sun Nov 7, 2004 6:46am
Subject: 17

Just wanted to add that the God image in collage 16 is from the God scene in Monty Python's In Search of the Holy Grail. First image that came up when I googled the keyword "God" in the images search of that engine. Perfect, I thought. I had the head of Satan all ready from the earlier collage #3.

I also think that the collages in this series, starting with 14 especially but also perhaps even 13, were about the election that was just held where Bush defeats Kerry. Another type of good vs. evil in my and the wife's estimation. "What Goes In..." (collage 15), in this light, can be assoc. with Bush going into the White House for another 4 years. "Must Come Out", replaced by "Muscovite" in the next directly connected collage of 16. Bush must come out of office in four years... can't run again. In the meantime, we must think as positively as possible (!). The 2 halves of the Casey Grass Boy may mean the two parts of his stay as President. Hard to capitalize the latter (smile).

Truman just popping up in the series in #14, an image prepared much earlier for the Ultimate Pink Floyd Synchronicities website, obviously represents Kerry (=Jim *Carey*), but also another Democratic presidential candidate in Harry S. Truman, who was *successful* in defeating his Republican opponent in Thomas Dewey. This was another nail biter of a campaign, though, just like Kerry-Bush and also Gore-Bush before that. This is one of the themes of "Game Day", the 17th collage in the series, which was the first consciously assoc. with the election in the series. The blacking out of the Truman/Carey figure here obviously foreshadows the loss of Kerry in the election, and despite hoping that the collage was also predicting a false early win for Bush when I went to bed on election night, woke up the next morning to find that this simply wasn't going to happen.

But to other areas of collage 17 (left). The tarn in 14 reappears here, with the opus 19 (Chickens/Birds) sculpture positioned directly above it now. Opus 19 also appears in 14, as well as 11. Also this is the last we see of it in the series. Three marbles seem to roll away from the tarn and the sculpture, colored red, green, blue just like the three joined birds of my sculpture but also the three marbles of collage 11 that replace the cup in 10 on the end of Irwin/Pierre's upright fork. As stated before, I think this represents the 3 artists
used in Billfork (Lennon, Floyd, F Theater), but also the 3 chronological regions of the synch as well, which can be symbolized as 3 diamonds standing for the Atlantic, Central, and Pacific, mirroring the 3 filmed Montana lakes which are actually one lake in the Northfork film. This symbolism is carried over into collage 17, as the 3 marbles appear to be about to roll into the stack of diamond rings we first see in the Billfork Announcement (collage 4) but also Tunnelvision (collage 7). The stack of diamonds, unlike in the earlier pictures, are sideways here. We, however, do not have the rowers carry over into collage 17 that are attached to this diamond ring stack in the earlier pictures. These are directly connected with the song Lucy in the Sky with Diamonds in the center of the center of Billfork. But perhaps the centrally illuminated diamond in collage 17, an edit from the 3 diamonds on this stack illuminated in collage 7, reinforces the central "Diamond" in Billfork in L.S.D. Emerging from the other side of this diamond stack is the yellow submarine again, the same image as we have from collage 6 (before 7), and the yellow sub also appears in collage 5. and 16. Here I think it represents the results of election day, when *America* votes for its new president. American as Atlantic, Central, and Pacific, or the 3 Diamonds again. The stack of Diamond rings =s America itself in this way, and the 3 marbles entering are the 3 regions of the country, but also perhaps the 3 types of voters, liberals, conservatives, and people in the middle. I think the yellow submarine should logically be compared with the dead fish of collage 11, where the birds sculpture also appears... the dead fish is also found in collage 14, the only other place the birds sculpture is found in the series. The dead fish is a symbol of the death of the first part of the series (1-10) and the beginning of the second part of the series (11-20), where we have the illumination of Pierre in MO as an EYE to begin with . In ways, this is also the end of my discussions with [omit name], and, parallel to this, the switch from the public Paradox Forum to the private Floydada Forum to discuss the remainder of this collage series, as I'm continuing here in this post on Floydada. Perhaps one eyeball (Pierre's EYE of Illumination) replaces another (SEE) here? But it is obvious that the symbols of 11 are carried over now into 17, and that the 3 marbles and the stack of diamond rings they go into and emerge from represent America itself and, perhaps specifically, the Electoral College. Perhaps they represent college itself, as a period of, traditionally, 4 years, like  presidential term. 4 years and you're out. Choosing the right college is like choosing the right president. The yellow sub here is a continuation of the dead fish of 11 and 14, true, but also represents manifestation here, independence from interaction with others in a noise-like way (?). Kerry's campaign as a dead fish... smiling Kerry of campaign trail now covered by a black marble, symbolizing mourning in one way (wake for dead fish), but also perhaps Kerry as "black balled" in some way. It is an uncolored marble, as is the one in the sky where God and Satan were both positioned in 15/16. Black and white... evil and good. The right see Kerry as evil when we see him as good. That's why he was black balled by them. Some people agree that Bush should be given 4 more years. In a serious way, you must put a positive spin of some type on the results. The dead fish is gone, but the yellow submarine lives one. The dead fish is obviously continued from 14 to 15 as the yellow flaming car, also a symbol of death as culled from the Sgt. Pepper album and it dropping into the "o" on the old Beatles' grave at the end of the word "Beatles". Death of Kerry and his campaign represents new life for Bush and the conservatives, though. Red vs. blue for us (Satan-God). The death of the Kerry campaign for presidency seen as evil to us. Ultimate good only comes in the removal of victor Bush four years later, when new life could be breathed into the Democratic party. That the Satan figure in the sky in 15 holds a *bush* is obviously a symbol of Bush in one way at least.

The assoc. of the sideways stack of diamond rings in 17 with the Electoral College and election day in general (Game Day... a conscious connection by me) is reinforced by the propped up newspaper on this stack which reads "Dewey Wins", reference to false headlines declaring, too early, Dewey to be winner over Truman in the 1948 election. A dichotomy is set up between Truman and Kerry (who will be seen as "Herman" later on), for one wins and the other doesn't in close elections. The overlap is the *Truman* character played by Jim *Carey.* This also has something to do, perhaps strongly, with AR-Craighead field, where Herman is also "replaced" by Truman at the end of a process. The Herman reference, as we'll see, refers to Kerry looking a little like Herman Munster in the shape of his head, as referred to by the Jib Jab animation. "You're a Herman Munster", Bush jabs to Kerry in this animation at one point.

The yellowish (artificial lit) bed from collage 13 also appears in 17. The yellow sub appears to be headed to it... perhaps represents Bush heading back to his familiar bed in the White House? Slumbering green Alexandrite in 13 =s Bush, as the opposite awakened eyeball with the red version of this gem Kerry? Kerry as Billfork, which should be seen as "one up" on SID's 1st Oz in that battle of "rival siblings"? At any rate, the yellow sub is heading *down* the Green up Gill again, just as it did in collage 6 (further up the valley this time, though), seeming to refer to the "yellow down" addition to Green up "slogan". Time moves on, an animation is in process. Yellow sub as reference to animation itself? The first animation I created was for the banner of the Ultimate Pink Floyd Synchronicities site, which featured a moving yellow submarine. Yellow submarine as the end product of the process of the electoral collage/stack of diamond rings... America has spoken, as Larry King put it that fateful night. For better or for worse. Now we must live with the consequences, must, somehow, keep a positive attitude.

Let me move to the foreground of 17. Game Day is implied here, a contest between two sides. Mile High Stadium (Studio?) is implied, with Denver perhaps representing the Democrats through the letter D. The letter D of the 2 Denver helmets here with that letter originally has been covered up by an extension of the black balled Truman's suitcase. The horizontal/vertical motion of the extended suitcase here seems to refer to the rook-like movement of the flaming yellowish car in collage 15, as opposed to the bishop-like movement of the parallel yellow sub in 16... a version of this car which has emerged (4 years later?). Bishop and rook as opposites on a chess board... cancel each other out, but are also united by the Queen (Queen Hillary). Bishop (diagonal movement of chess bishop) has been weakened in comparison to rook (horizontal/vertical movement), but things will change later on, *hope*fully. The diagonal positioning of the two Ds on the horizontal/vertical suitcases here seems to imply the present *covering* of the Ds as Democratic Party, or the fact that Kerry didn't defeat Bush as *D*ewey didn't *D*efeat Truman earlier in 1948 56 years previously. Diagonal motion of bishop (two Ds tilted at 45 degree angles in comparison to covering suitcase extensions) eradicated here, in present moment, but will reappear later. Hummingbird (12, 13, 14, 17, 18, and perhaps 20), covers dead fish on 3rd and last Denver helmet, the earliest version of the Denver Broncos helmet presented here. This also seems to point to life after a period of death, or the emergence of life again after a necessary (?) death state.

Better stop here for tonight.

Baker.
42
From: "baker b." <edwardston@yahoo.com>
Date: Fri Dec 10, 2004 1:15pm
Subject: Floydada, posts 11-
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Moving to collage # 18 now.

Collage #18, "Youre a Herman Mossman" (right), was created from yet another view of Greenup Gill, this time just up from Stonethwaite, with Eagle Craig straight ahead and Greenup Gill valley to the left of Eagle Craig from our viewpoint. Title is "You're a Herman Mossman", another reference to the just completed Kerry-Bush campaign. In a jib jab animation very popular just before the election and made available on the jibjab.com web site, Bush makes fun of Kerry's rather elongated and somewhat strangely shaped head, saying "You're a Herman Munster"... this in the middle of trading outrageous barbs with the animated Kerry in this work. Corresponding to this title for collage #18, we have mossman again here to the far left of the picture, looking straight into the Greenup Gill valley. Top of his rounded head is now crowned with the top of Herman Munster's much more squarish head. The relationship between mossman, a He-man from the Saturday morning animation series, and *Her*man has already been discussed, especially in relation to collage #13. In 13 we find mossman collaged figure in the series for the first time, and he also makes a cameo, along with many other figures from the series so far, in the subsequent collage #14 (Old Wake Friend).

In 13, I described how Mossman, who is attached to the bed with the green Alexandrite jewel, is a symbol of Frank Park and the attached T and 7 from TILE mythology. The awakened (eyeball fronted) red Alexandrite in the other bed from the picture represents, in contrast, *Herman* Park, with the basic difference, as described in tier 8 of the 10x10, being that Herman Park is priceless, while Frank Park has a price, albeit very high. The priceless aspect of Herman Park is through the fact that it is home to the sacred TILE Creek, which makes
up the missing one from the otherwise equivalent nature with Frank Park. That is – and again this is outlined in tier 8 – the areas of the two parks are, in reality, exactly 7:6 according to the entrance signs, with Frank Park being the 7 to Herman's 6. But TILE Ck., which flows entirely within Herman Park, or almost anyway (mouth area may be partially outside the park... or on the border... have to check) makes up, according to my mythology, the missing one from the equation, and also makes Herman priceless in comparison with Frank.

The crowning of Mossman here with Herman Munster's square head seems to represent a combination of the two parks, or that Mossman, the He-man, has been mysteriously turned into a Her-man. On the surface, this represents the inability of Kerry (Herman, through his head, you see) to win the election. To make this clear, I added the grass of Casey the Grass Boy to front of this head – doubled it's density, in fact (positioned it both way) to emphasize that Kerry had been covered now by *bush* (grass). He is already fading from history as I write this, relegated to long lost of now basically forgotten runner ups for the president, including, yes, Thomas Dewey.

I should also add that the action in collage 18 is taking place in basically the same space of that in collage 13, which also contains a giant Mossman figure. It follows that the 2 Mossmen are directly linked, and that to enter the Greenup Valley again, Mossman/He-man (Kerry?) must be crowned a Herman and covered with a Bush. He has, it seems, absorbed the lesson of the two beds in collage #13, and has become truly awake now... has the red Alexandrite jewel in his eye now that blocks the pupil, once more (blocks *up* the pupil). The pupil, in both the case of collage 13 and 18, may represent the hummingbird with its long and possibly dangerous beak, a pecking beak perhaps. Mossman changing to a Herman perhaps protects it from this beak. Does
the pupil then become a pupil in reality.. a *learning* (seeing) pupil?

Perhaps the open pupil here has been replaced by the open mouth of "Amereca" Cavern seen across the body of water here. This body of water is actually not a part of the Greenup Gill landscape in England, but is instead a pic of the M*a*ramec Spring near Rolla, Missouri. I was attracted, perhaps, to save this image because of its unusually blue water, and also perhaps because of the cave mouth, which is actually just a rock ledge viewed from closer angles. Beside this spring are two collaged images from another picture entirely: a barn advertising Meramec Caverns and also a roadsign advertising the Route 66 attraction. These are positioned in collage #19 in basically the same angle of the photo I culled them from. It is important to point out that Maramec Spring is *not* the site of the Meramec Caverns, and, once again, that the cave which seems to be to the back of this spring is not Meramec Caverns, as it might appear to the casual observer, but merely a rock overhang appearing as a cave. Instead, Meramec Caverns is perhaps about 50 miles east of this spring, although on the same stream (the Meramec River). But here I've combined images so to give the appearance that this rock ledge is actually the Meramec Caverns... or, correction, the *Amereca* Caverns. Quite cleverly, I decided to rearrange the letters of the Meramec Caverns ad on the barn to read Amereca, with the same letters involved. This would thus resonate more with the current election for the leader of America, and the ultimate consequences involved in America's choice for this leader. So, in essence, I created an Amereca Caverns in the back of Maramec Spring for this collage. And now I think it is related to the open (unprotected) pupil of the giant eyeball from collage #11, Pierre's Eye, or the center of America in Missouri that the cave would represent... the open mouth (eye?) of the cave, that is. But the pupil of the eye can be compared more with a cave, perhaps. The blockage of the eye in collage #13 may represent the fact that the results of the election weren't known yet, and although it appeared that Bush was going to win, it wasn't set in stone. Now that the election results have been *seen*, Herman and He-man (Mossman) are now combined, priceless combined with the very highly priced but nevertheless priced, and we move on – upwards into the Greenup Gill valley again to meet with the energies coming down from the valley from its top that also appear in the second part of the series here.

This is a very important point to reinforce in this interpretation: the first two collages of the second part of the series, or collage #11 and collage #12, represent extreme locations in this series, or "farthest north" (top of Greenup Gill, or Greenup Edge) and farthest south" (Stonethwaite, below mouth of Greenup Gill) in relationship to the Greenup Gill, with the center between these two extremes being the Billville Mound where the first 5 pics of the series are set at in a static way before movement both north and south occurs in collages 6-10. Now in the second part of the series, we have movement back to the center from both these directions, with 11 and 12, as I said setting the extremes for this movement in a north and south direction, and then 13, 18, and 19 representing movement from south (Stonethwaite) up to center again, and 14, 15, 16, 17 representing movement *down* to center again from the north. The center is again reached in 20, where we, presently, have a repeat of the 1st collage, or Finding the Niche. 20=1 in the series, in other words.

So in 18, what we have is the cavern that has been opened by the *choice* the American people, as a whole, made in the election between Bush and Kerry... the ultimate consequences. For Edna and I and others firmly behind Kerry in every way, it seems to be a passage through dark time which, *hope*fully, will have a light at the end of the tunnel. Basically, I see this hope personified in Hillary Clinton, who, as I've told others, could be elected Queen of America after Bush is gone for all I care. Interestingly, the word "Hillary" is involved in a synch within the Dark Side of the Yellow Submarine synch, where The Boob, or the Nowhere Man, produces 3 cards and hands them to the Beatles as an introduction. These cards are read by the Beatles, in turn, and spell out the three names of the Boob, or Jeremy Hillary Boob. When the Beatle who reads "Hillary" here out loud (can't remember which one it is), Floyd is singing "*hill*" in the phrase "And if there is no moon upon the hill" from the Brain Damage song. It struck me then, at any rate. Remember that I've now used the yellow sub image in the collage series several times, including in connection with the end of the new Bush regime in collage 16 and also 17. The "going backwards" (back into life, or light) interpreted in #17 may be going back to the Clinton administration before Bush the Son, but this time Hillary's administration instead of Bill's. It is also interesting to note that Billville is partially inspired, I'm sure, by the name Bill in Bill Clinton, as the album was released at the end of his 8 year run as president in 1999. Everyone is named Bill in Billville, just like all Americans are a part of Bill the president, the man from *Hope*. This would also tie into the diamond motif, for the only US diamond mine is about 25m above Billville, and also there is a Billsville right next to this mine, reinforced by the fact that Glenn Campbell of *Rhinestone* Cowboy fame was born in Billsville (Glenn Campbell is also name of city in Penn., to seemingly reinforce this connection). Which also seemingly brings us back to Synchpatch and its strong Diamond motif... also set in Arkansas.  Idea: put *Arkansas* flag in collage #20 to reinforce the Synchpatch connection. Diamond motif carries over from Brazil flag, and also is direct connection between US flag and Brazil flag. No. of stars on this flag is almost the same as for Brazil – 25 to 27, I believe.

Note: relook at Dark Side of the Yellow Submarine.

Will continue with analysis of collage #18 and also 19 tomorrow
hopefully.

Baker.
12

From: baker b. <edwardston@yahoo.com>
Date: Tue Nov 9, 2004 4:51am
Subject: Re: 18

Have now revised collage #20 to turn make it different from #21/1, or Finding The Niche. Same background, though, as is the pattern of corresponding "square" collage sets of 5-6, 10-11, and 15-16. 20-1 completes this now... is now firmly part of this set. The new collage is titled "Jigkansawyer Neil", and I'll get to its analysis in a moment.

Returning to 18 to finish up, hopefully. So, I think for the first time in the series, I've imposed a different landscape upon the Greenup Gill landscape through collaging Maramec Spring into valley just before Greenup Gill valley. The sheep partially underwater in the pond (eyes and mouth underneath water) probably points to the confusion about where his field went (foreground was originally grazing field in base photo from Greenup Gill series)... he/she goes on grazing as if the spring didn't exist. This is a stained sheep, like we have in collage #9 that is touched by one of the jigsaw pieces, and it appears that the Paul's uniform color has "bled" onto the top of the sheep... a blue-green color. Similarly in collage 18 now, we have the top of the head of the sheep colored basically the same color as the blue-green spring water, again. Does this color cause the color of the spring water now? (or visa versa, as we have in 9?) Here we have the sheep having other colored stains on his back as well... pink, green, yellow (I believe... hard to tell with this stupid dark monitor!). But that's basically why I inserted the sheep here in a watery setting. Reminds me of Faulkner's Al Jackson stories from his Mosquitoes novel, and how the sheep turned into aquatic creatures. Expand on this parallel?

Just to complete the review of images from 18, we also have a "K" positioned to the far right of the pic, underneath, it appears, the 66 Roadside Attraction sign. This resonates with the K at the front of the Coach K cube(s) in, especially, collage #8, Absolution – I don't believe this letter specifically appears anywhere else in the series – but here we have a different K, with the sky reflected in its surface. Seems to point out that collage 8 and collage 18 are set basically in the same location – near or just inside mouth of Greenup Gill. I think the cave would represent the mouth of the creek, and the "K", in ways, also represents this mouth, with the row of cubes =ing the flow of the Greenup Gill from source to this mouth. Cave entrance often called mouth of cave. "K" = cave? (Kave).

It could be that the small pool of water below the waterfall in collage 8 has expanded into this spring, and the K in the picture positioned just above the water, at its rim, is the same as the cave mouth in 18. We don't have any other images shared between collage 8 and 18, though, but this "K" (and two different Ks at that), but hummingbird at center of 18, positioned in front of Eagle Craig in this collage, is obviously related to the purple martin that, among other places in the series, appears in 8. Hummingbird essentially replaces martin in collage #13 of the series, as martin is shut out of the "Denver/orange" space of the Stonethwaite village in previous collage #12 (The Other). In 13, which is perhaps most like 18 in the series, the hummingbird appears as itself for the first time in the series (in 12, it is implied by the imprint in the orange octagon shape encasing the central laddie of the pic), and represents, in one way, the "pupil" of the title of the collage, or trying to become the pupil of the awoken eye in the upper, naturally lighted bed, but being instead blocked by the red Alexandrite jewel. This represents the election, on a surface way, and the inability to *see* the results. Now in 18 the results are known – the cave mouth has been open; future paths opened, for better or worse (probably for the worse... okay, shouldn't think like that, I know). The hummingbird is now able to follow Mossman/Herman into this cave and into the period of dark purgatory before the new light. Flying into tunnel/cave = flying into eye in 13, something blocked in that collage. Again, I think the "K" in 18 essentially means we are at the same position in the valley as in both 13 and, especially, 8 in the series. The row of cubes fronted by the K in 8 obvious is equated with the Meramec Caverns entrance here in 18.

In collage 16, Muscovite, that Crouching Baker is holding red apple seems to represent a duplicate, in ways, of the situation in collage #3, where Coach K is holding red Satan head and also green apple. In the red apple of baker in 16, these two images are combined... it is a
large red apple, for one thing, like the size of a head. Baker has the problems assoc. with 15 and the, on the surface, lose of the election by Kerry and the Bush win – in hand again. Light at end of tunnel (what goes in – Bush for 4 more years – must come out). Return to past and the Democratic Clinton administration, and past here may be same as future if Hillary is elected pres. in 2008 (?).

That the waterfall in collage 8 is also assoc. with the stack of diamond rings from previous collage 7, also appearing in 4 and 17 in the series, seems to imply that the sideways stack of diamond rings in 17 (in previous two pics, it is upright, like a waterfall), is the same as the tunnel we see the mouth of in subsequent pic of 18 in the series. Yellow sub exits from other side of this "tunnel" in 17, just as we have Crouching Baker pulling out yellow subs from Greenup Gill stream in previous #16 (again, this seems to resonate with fishing in golf course pond as teenager by "real" baker – me – and catching fish called gill there... Gill name also resonates with Gill, brother of Alex from the apts. below this pond and name source for Gill Creek which empties into Alex Creek at pretend city of Gillalex, a combo name). The yellow sub, as discussed before through the Jeremy *Hillary* Boob synch above, may represent Hillary Clinton and here 2008 presidency (?). Yellow sub, in movie, is used to take Boob, the Nowhere Man, somewhere... Ringo talks other Beatles into taking the Boob with them to Pepperland. Grabbing of Boob's hand by Ringo to take him somewhere begins the repeat of Dark Side of the Moon within Dark Side of the Yellow Submarine synch, and also takes it beyond Dark Side of the Rainbow, which I don't' think works in a repeat mode. Touching of Boob's hand here I think also represents contact between needle and vinyl record (original form of Dark Side of the Moon, when it was released in `73), as one sets the needle down on it to play music at the time. Subsequent song Breathe is partially overlapped with Lucy in the Sky with Diamonds scenes in movie.... lyrics begin just as LSD world is "opened" in movie (like an eye?).

Rewatch DSOTYS, especially the repeat and just before.

Back to 18. We also have a "Cayce hat" positioned atop Eagle Craig here, in reference to the fact that Casey, Greenup, and *Meramec* are all closely related in map synch research. This is another reason I put Meramec Caverns in pic here, main reason actually. This is also attached to The Diamonds roadside restaurant we first see in collage 9 and then move inside in 10 and 11, since The Diamonds was in the same county (Franklin) as Meramec Caverns. More Pierre influence here, then, since Pierre originally thought he'd have his *LSD* vision inside Meramec Caverns and not neighboring Fisher Cave. Slight adjustment of location here. The vision turned out not to be inspired by LSD, though, contrary to the presence of *Acid* very near both of these caves in that county. Instead, I think it refers to the *Song* LSD from Sgt. Pepper, and how it centers, in turn, the Billfork synch inside the Northfork movie's ark scenes. The Diamonds is another reference to this song, and also the framing Shine on You Crazy Diamonds from the Billfork synch as well (regions 1 and 3, as LSD song centers both inside the center of region 2).

Cayce hat on top of Eagle Craig (eagle another symbol for America here, or AMERECA... rearranged MERAMEC letters), may symbolize some of his gloom and doom prophecies about future of this country... parts of country being inundated with water, perhaps specifically. This would go along with the theme of the Northfork movie, and the flooding of the Northfork town by an *artificial* lake (assoc. with artificial light of 13, which turns red Alexandrite gem green?). It is also obvious to me that Northfork is assoc. with Norfolk, Cayce's home metropolis area (he lived in neighboring Virginia Beach, where the ARE center was later established to preserve and promote his readings),and which he said would be save from the coming floods... remain above water. This would be the opposite story, then, of the Northfork town in the Polish Bros. movie and also, now, Billfork. Also interesting that the Maramec Spring (why the diff. spelling from Meramec Caverns???) is artificially positioned atop an otherwise quite dry field in collage 18... another artificial reservoir, as the grazing sheep partially underwater now emphasizes in this pic. Is Cayce "all wet" in predicting this great flooding of America?

Read up on Cayce's predictions. He is also obviously assoc. with Tom Casey, the center of WBA who resonates with Timmy Duncan formerly of Wake. Casey as split archetype... split between counties. Casey is the key (Yale). Greenup Gill valley is flooded at its start. Greenup as protection from coming flood? Another place of safety?

End tonight. Tomorrow begin with 19 and also probably move into
analysis of new 20th collage, and last, of series.
13

From: baker b. <edwardston@yahoo.com>
Date: Wed Nov 10, 2004 4:50am
Subject: 19, 20

Let me just go to 19 now, or "Edge of Night" (left). 18 analysis basically complete, I think. 19 is a simpler collage, somewhat like its "lower octave" counterpart of 9 is simpler compared to some, perhaps. But 19 took less time to compose than 9 and almost any other. It is set inside the mythical Amereca Caverns we first learn about in 18, but the central 2 parts of the collage are from Meramec Cavern photos in Missouri. Added to this in spots are scenes from other locations already used in the series. As in 18, the words Meramec from the neon sign inside the Missouri Caverns are rearranged slightly to give AMERECA. Good optical illusion once again (as it was on the barn in 18). Corresponding to this change, we have another part of the cavern combined with this neon sign photo that shows a photo of an AMERICAN flag projected, film-wise it appears, onto a large stalagmite or group of stalagmites also lighted green and orange. I'm not sure of the context... perhaps it was taken at a 4th of July celebration inside the cave or perhaps it is some kind of ritual part of the daily tours... should probably check (mental note).

So now we move to other elements of the collage. One will notice the end of a tunnel lighted up to the center right, reminding us of the collage Tunnelvision (7) and also the "Millboro" tunnel depicted in preceding collages 5 and 6. This is, in fact, suppose to represent the very same tunnel... the very same entrance. The tunnel is the same as the Amereca Cave here, or has transformed into this cave. But the tunnel isn't, in my mind, suppose to represent the front of the cave but, instead, the back of it, a backdoor of sorts, just as Jesse James was rumoured to have used an unknown exit of the Meramec Cave, another "back door", to escape being caught when the authorities thought they had him trapped inside the cave... thought there was no other exit besides the main entrance. So it is appropriate that Jesse James' name is also in neon lights in this collage, and the fact that the caverns were once his hideout. Some more interesting stories about Jesse James and this cave... will perhaps copy and paste some articles on them for Floydada here.

The cave exit takes us back to the center of the Greenup Gill valley, as determined by the fact that the scene shown through the tunnel exit is that of the Billville Mound also seen in collage 5 and 6, and also 7... in fact, the scene is identical to a small portion of sevenespecially, reinforcing that the two tunnel exits of 7 and 19 are one and the same. One can also dimly see a train track coming out of the cave here, which is an elongated and darkened version of the one in collage #1, or Finding the Niche. We can also dimly see the apple on the stacks of books from this collage as well from collage 1. We are, in essence, moving through the cave and returning to the beginning point of the series.

The sprite bottle of 19 that makes its only other appearance in the series in collage #11 fit perfectly into the artificial lighting of the Meramec photo with the neon signs. To me it reinforces the American flag presence and AMERECA by representing another large country's flag– that of Brazil. Pasted on the sprite bottle, in place of the brand name, is, again, the central purple sphere of this flag, barely discernable in the collage, though.

Connect artificial lighting of cave with Alexandrite and its *red* color in artificial light... backwards from the appearance in #13 as we've discussed before.

So I suppose I'm ready, all of a sudden, to move to the 20th and last collage of the series, completed yesterday, called "First Jigkansawyer" (right). Building upon the conjunction of the American flag with the sprite bottle and the depiction of the center of the Brazil flag upon it – it's clear that the bottle itself, and the purple top (another symbol of the central purple sphere/circle) is suppose to represent the flag as a whole) -- I decided to use the Arkansas flag (below, left) in some form and fashion in collage 20. The union between the American flag and the Brazil flag symbolically comes through this American *state's* flag, which, like the Brazil flag, has a central diamond motif going on, and, like the American flag, is colored red, white and blue and also contains a series of white stars against the blue border of this central diamond area. In the end, I decided to use this blue border and its stars in the collage, to balance the use of the outer purple border used in the first collage of the series which I planned to link to collage #20, making the series a giant loop. Clever fellow I am. So the effect, when you click from 20 to 1 again, is that of a diamond inside a basic square, creating the outline of a shared octagon. The center of the diamond in the otherwise transparent Arkansas flag in 20 would turn into the purple martin centering the "transparent" part of the flag depicting this purple martin in 1. Just to note: the flag I used for collage 1 is merely a garden variety flag... purple border of plain white flag centered by purple martin. Not sure what the original context was without checking.

The rough octagon shape made by the superimposition of transparent flags in 20 and 1 is mirrored in the octagon shaped birdhouse encasing the figure just to the right of the "flag" in 20. This is the same orange octagon encasement we first find in the series in collage 12, its only other appearance in this series. As in 12, the octagon birdhouse appears to be encasing a figure... feet are same between the two, but the heads are different. In collage 20, the head of the boy in 12 is instead replaced by the giant eyeball we also find in collages 11 and 13 surrounding 12. In 11, this stands for the "illuminated" Pierre in Missouri, perhaps in connection with his new found career in channeling (Tyler/Tiler but also Tippy, hehe). Another image that appears in collage 20 here that also appears in #11 (its only appearance within the series, in this case) is two tulips, here sprouting out of the ground beside the railroad at the railroad sign (light?) in the picture. One of the stems of these tulips is covering up the dark center of this sign, which stands for the pupil of the eyeball, I feel. In a draft of this collage, I placed a Martin Prince eye on top of this sign, to indicate a resonance between it at the bug eyes of Martin. Back to 20, though, first. We've talked about the orange octagon encasement, but in comparing 20 to its match in 1, it's obvious that the figure encased is Martin Prince once again, or his representation in the figurine of 1 and also seen in other parts of the series. In collage #20, we only see his one eyeball, revealed in a cutout of the center of the eyeball, much as we have Northfork's Irwin's 2 eyes revealed in the same cutout, dimension-wise, in collage #11. As the tulips from 11 also reappear here in 20, as well as the 8 tulips of 11 resonating with the 8 sided octagon, we must see a direct resonation between the meaning of the two pictures, perhaps.... moreso than between 20 and other pics besides 1, obviously, which shares the same background. But before getting to this comparison, perhaps, I should complete the description of 11 and state that the giant eyeball of the picture has, issuing forth from its *pupil*, the central diamond border of the Arkansas flag, as if the diamond was being "born" from this eye, this pupil/hole. Within the diamond appear four fruits, two lemons placed side by side making up the longer dimension of the diamond, and then two limes placed north and south of the center to fill in the vertical height of the diamond. This directly resonates with the sprite bottle from the former collage (19), which was originally depicted in commercials in the 70s when I was growing up as a lemon-lime drink, and the commercials had a half-lemon, half-lime figure in them at one point that must have made an impression on my psyche at the time, as lemons and limes appear again and again in my art and writing. These 2 lemons and 2 limes are obvious continuations of the original background, which depicts a lemon tree. and refers both to the Fall 87 Sketchbook and the martin bird getting trapped in Lemoyne (lemons of a central lemon tree in the scene depicted at the beginning of part 2 of 2 of this old sketchbook), but also the central lemon tree that Martin Prince is trying to return to its traditional home of Springfield in the 6th season's episode "Lemon of Troy" which I feel this sketchbook psychically reflects in part – future affecting past (synchronicity). Is "Martin" trapped in Lemoyne (lemon) here again – the lemon tree? Or does the presence of the two limes indicate as truly found the correct relationship between Greenup (lime) and yellow down (lemons) here, a fulfillment of the promise of the sketchbook? My guess is the latter – as the new series takes place almost entirely within the Greenup Gill valley, the Greenup energy *hinted* at in the Fall 87 Sketchbook – psychically again, since this would have to be future affecting the past – is now fulfilled as we have started in the center of this valley in collage 1-5, moved to the extremes of the valley north to south (11 & 12 respectively) and have now, in 20, returned to the center from these extremes again. Our journey through Greenup is over now. But what has been learned. We have learned that the central flag of collage #1 where we began is a fusion of American and Brazilian through the diamond, which makes it resonate most closely, perhaps, with that of Arkansas'... fusion of Brazil (diamond) and American (white stars against blue background, and presence of red and white as in the USA flag as well). But Brazil only borders one ocean, the Atlantic, and perhaps needs to combine with Peru to the west, which only borders the Pacific, to make a truer physical resonation with American across the center of *South* America. It could point out that it is somewhat egotistical to call the United States *America*, since it would almost make as much sense, it seems, to call Brazil America, since it is also on one of the two American continents (largest country of South America, as US is largest of North America). So we have a dichotomy of North and South here again, I feel, where North is trying to block the significance of the South by laying exclusive claim to the name "America".

This seems important, and I think it has several ramifications. First, I think the North represents life as we know it, physical life, while South America is the realm of the dead. When we die, we are traditionally buried "below" the ground, to the South. Death is thought of in a negative way by our society as a whole. We don't like to think of it too much, and if we do, it is in the sense of sorrow, mostly, for those departed from us. We don't think, as some esoteric groups do, of birth as the sorrow instead, and death as the escape from the prison of life and reason for great celebration. It seems that death is like the mouth of the Meramec Caverns, and that there is no backdoor, no real point to the seemingly endless darkness that awaits us. Death of John Kerry's campaign is the surface indication, but also the fact, still speaking of this surface, that the Bush administration can last only 4 more years – 4 long, long years, true, but only 4 – and that, afterwards, the Democrats have a chance to recover and perhaps right some wrongs done... maybe. But, as with physical death, there's always a light at the end of the tunnel, and a rebirth is inevitable. So I think collage 20 and also its twin in 1 celebrate a rebirth/birth. End connects with beginning, as we have in life, and we seem to begin with a blank slate but perhaps that really isn't true, and that we've gone through a lot of experiences already but have just "forgotten" them in order to relearn them from fresh, new angles.

And, synchily, this ties into the direct lessons as I see them in the Synchpatch concept and the reincarnation scenario depicted there. Jigkansawyer Neil, the title of collage #20, is tied into this meaning, for Jigkansawyer is consciously connected with Arkansawyer, and the word first appears in the series in collage #6, First Jigkansawyers. But perhaps Jigkansawyer Neil actually represents the *singular* first jigkansawyer, not plural, just as Neil Armstrong was the first man on the moon. Armstrong planted an American flag on the moon... it didn't wave, just as the flags of 20 and 1 are frozen in the confines of their two-dimensional collage statuses. But I think, in one way, the white stars/blue background of the diamond issuing from the pupil's eye in 20 also represents the planting of the flag on the moon by Neil Armstrong. Tulips reinforces this – in the powerful moon map synchs in OH, Tulips are combined with the place of the lunar landing, and also Neil's name and the name of his ship he used in this landing. Neil A. is also strongly assoc. with Pink in this and other places in America. Tulips are planted in 20 like the moon flag, actually... come to think of it. The two tulips perhaps represent the two flags of America (North America) and Brazil (South America), and thus the two continents themselves which make up the western hemisphere of our Earth. (two) lips are like one pink. Arnold, first man of Pink, =s Neil, first man of Moon. As the stem of one of these tulips crosses out the "pupil" of the rr sign in the pic (the landscape surrounding the rr, come to think of it, looks kind of lunar), so the end of the central flag diamond is "blocking" the pupil of the eyeball, or, better, seems to be issuing forth from it. The diamond is in the eye. Perhaps Pink is the first man on the *Dark* Side of the Moon. May be grasping here.

Should probably wrap this up for tonight. Some loose notes:

Diamond represents martin (9) which is, again, as in F87S, escaping from 8-sided octagon that may be a prison (life? or perhaps America claiming to be all of the Americas?) The martin hasn't quite manifested yet in 20... this would happen in one when the bird will appear in the center of the diamond, and be paired with the now unencumbered Martin Prince figure. Two martins as one. The diamond in 20 represents North and South America united, as the two halves of the Greenup Gill valley have now been united as well through the 20 collages of the series. So I think these lemons and limes – 4 in all – in the center of the diamond would represent the four directions, and the covering of the Greenup Gill valley from all four in the series.
Now it is complete.

Will perhaps wrap this up tomorrow... perhaps will look over the
entire series again. An idea: begin a new series with a *Synchpatch*
theme. Burning Man's Best Friend, and all that.

Baker.
14

From: baker b. <edwardston@yahoo.com>
Date: Thu Nov 11, 2004 5:34am
Subject: Re: 19, 20

Well, in looking it over, I think the analysis of the Greenup Gill Collage Series is essentially complete. Will take notes on the overall analysis, which perhaps spans 20 posts or so (same amount as # of collages?). But it is obvious from this early perspective that what I've created is a higher octave of the long cherished Fall 87 Sketchbook... it doesn't quite *replace* it... at all. But represents an updated look and also furthers a pure collage style in much larger fashion. It will probably use it as base for new art... animation, etc.... as the Fall 87 Sketchbook was touchstone for older, college art of 87-90. The two parts of the Greenup Gill Series (just "Greenup" Series?) also might be the first two parts of a *new* 10x10, an art 10x10 this time to complement the writing one just completed (10th tier essentially completed on the Synchpatch forum from this summer).

Study the old systems of art:

CHRO
CITY
FDPD

SURR
ABEX

Try to figure out how to expand from this new art base. Do I also go back into a Billfork analysis? Another interview with baker b. by Pierre. Or should *Booker T.* be brought into the equation? Study Booker T. Archive again. Add the new Oz/Floyd Paradox posts to tier 9 of the 10x10. If not, think about the structure of tier 9 again.
   

FLOYDADA END.


 

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