baker Blinker's Weblog

First and Second Life at least.

Tennis Man September 30, 2012

Filed under: collage 10x10,Lower Austra,Uncategorized — baker Blinker @ 1:49 am

Friends are hard to come by.

THE END OF THE BAKER BLINKER BLOG. PLEASE JOIN US AT FRANK AND HERMAN EINSTEIN FOR FURTHER EXPLORATIONS AND EXCITEMENT!

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Spirals within Spirals… February 2, 2012

Hucka D.:

House Greenup and SoSo spin in opposite directions from the circles around them, counterclockwise in each case. The robots have circled around each of these structures (galleries) in a clockwise manner. You are in the heart of your 7 stones research, baker b. Have you heard?

bb:

Have I heard what?

Hucka D.:

Listen.

—–

bb:

Anyway, so it turns out, as I was walking them tonight, that the Greenup series within House Greenup and the Oblong series of SoSo spin around in the same direction, contain the same number of collages, and are both spiraling around both a lower and an upper level. Of course I knew Greenup and Oblong were similar in this way (2 loops of 20 collages apiece), and were different from the other 4 series of the 10×10 in this way.

Hucka D.:

In this way. Listen.

bb:

Death?

Hucka D.:

Not… no.

bb:

[Delete name] would say death is the end. Period.

Hucka D.:

Wrong.

—–

bb:

So the robots, both red and blue, *cannot* walk in a counterclockwise direction — they simply halt themselves at the 7 Stones marking this turning point. They *cannot* walk in the same direction as the spin of collage progression within each of the galleries they are circling around. (pause) The collages are separate from the robots, or are on an opposite spin from them. The robots do not enter the galleries for this reason, and never will. One comes from the Town Dump and the other from the Town Limits. Points Y and Z respectively on the picture above, Hucka D. Hucka?

—–

bb:

So the robots counter the sprialing energy of the two galleries, the blue one counters Greenup and the red one counters Oblong in the SoSo Gallery. But the Golden Way connects the two in a harmonic manner. I think.

Hucka D.:

I am harmonic. Listen.

bb:

Harmonica?

—–

bb:

Looking downward into the spirals of each gallery would be like looking into two circles stretched out and connected. The first circle would start at 1 and end at 10. The second circle, identical in shape and size to the first, would begin at 11 and end at 20. 10 collages in each circle, Hucka D. And containing an animation in the exact center of each, or between collages 5 and 6 in the first circle, and then collages 14 and 15 in the second circle. In addition, at each point where the two circles touch, as it were, another animation is produced, or between collages 10 and 11 in circles 1 and 2 respectively, and collages 20 and 1 between circles 2 and 1. This would apply to both the Greenup and Oblong series, although it is easier to see in the “classic” style of Greenup, where the pattern was laid out for the entire 10×10. This would be the first series created in the 10×10 as well, the ur series. Hucka? Anyway…

Hucka D. (returning):

Don’t you think the two (red and blue) robots are trying to make an animation with each other but can’t?

bb:

That makes sense. Let me try to wrap my brain around the concept.

Hucka D. (patiently):

Wrap away.

bb:

If they were heading in the same direction in respect to each other, they could make an animation — they would be two aspects of one motion, start and end. However, they oppose each other, and head in opposite directions, perhaps on opposite loops of time itself, Hucka D. Is it Greenup opposed to Oblong?

Hucka D.:

No. I don’t think.

bb:

Can you wrap your brain around *that*?

Hucka D.:

Yes I can wrap my brain around that. By the by, you saw me downtown today.

bb:

I did (!) What were you doing in downtown Blue Mountain, Hucka D.?

Hucka D.:

Just saying hello. Howdy, how’s it hanging. And such.

bb:

Golden One, eh?

Hucka D.:

Yeah. I try not to be boastful about it, but it gets away from you at times.

bb (smiling):

Right.

Hucka D.:

So you’re forgetting the Golden Way[ once more].

bb:

Guess I am. Let me take another look at the picture above, then.

Hucka D.:

One more look and we should end. It’s not too difficult baker b. Remember you were telling [delete name] today that it was simple and implying that he should be able to grasp it? Well… maybe it’s not. Maybe it’s like the red and blue robots that don’t make any sense all stuck at that stacked rock sculpture. That’s what it is — red and blue. Limitation.

bb:

The way to keep moving up the 10×10 spiral, Hucka D., was to create these animations at every fourth collage. Otherwise I would also get stuck. I remember the first — between Greenup collages 5 and 6.

Hucka D.:

56, yeah.

bb:

What is this saying?

Hucka D.:

What *is* this saying??

Greentop:

What is *this* saying???

bb:

Anyway, once more, Martin turns into another Martin in the animation, the yellow submarine starts heading more downstream on the Greenup Gill, and The Beatles have changed from Russian nesting dolls to jigsaw pieces of a puzzle. Jigkansawyers.

Greentop:

Jig-kan-saw-yers.

bb:

Still here Greentop, I see.

Greentop.

I hear. I see.

Hucka D.:

He’s in the collages, baker b. That’s why he’s here. Highest of the low, you know. Greentop. Asha.

bb:

And the tunnel in the background has lights in it now. Three glints — diamonds as I saw them. Something has been energized.

Hucka D.:

Birth is about to happen. Right Greentop?

Greentop (proudly):

Wrong!!

bb:

OK. So… I guess the yellow submarine in the collage could be the, er, Golden Way, Hucka D.? [no answer] And the diamond glints are Lucy in the Sky with Diamonds from the Sgt. Pepper album, then same album of the jigsaw puzzle. It has just been pieced together — the album I mean. 4 pieces to the puzzle, 4 Beatles, 4 Russian nesting dolls.

Hucka D. (returning again):

The tunnel is Millboro. That means it’s a time tunnel.

bb:

Let’s see. So that means The Beatles are travelling backwards in time, back to Revolver just before Sgt. Pepper. That’s why the images have turned black and white from color. “Yellow Submarine” is a single off the Revolver album, and paired with “Eleanor Rigby”. And we just spoke of this double single on the blog, Hucka D. Dr. Blood did, I mean. Dr. Blood and I.

Hucka D.:

And me.

bb;

This is probably about 4orrin1, then, Hucka D., which was slightly in the future when the collage was created, or predating it by several months. 4orrin1 would have been a strong and heavy influence at the time. Gravity.

Hucka D.:

And comedy.

bb:

4orrin1, or Foreign One, would have been the pull from the past which is in the future. (pause). Oh, and the lights within the tunnel are like train lights, Hucka D., which also plays a part in 4orrin1. Lemme pull up a pic.

—–

bb:

Well, I can’t find one, but it’s where Fin wakes up in the middle of the train track in tile 2, but then in tile 3 the train comes and whites out the screen with its light. It’s up in the air, in the synch, whether he survives or not. He is the Nowhere Man. Time goes backwards. Fin’s watch is smashed when the train passes over him because it was laying on the tracks — proof that he didn’t dream the whole thing up. At the same time in Nowhere Man we hear “take your *time* (don’t hurry)”. Can’t be chance or happenstance, Hucka D.

Hucka D.:

Golden Way. By the time you get to Oblong the synch process is in full swing. You have reached your peak, alongside collage production. Parallel peaks, then.

bb:

The tunnel is time travel. The tunnel is tile reversals. Jumping backwards. The end of 3 loops back to the beginning of 2 in this case. Nowhere Man.

Hucka D.:

It is because he (Fin) has lost his friends in the Yellow Submarine. He is alone, but is still saved. Time saves him. Backwards jumping. Otherwise…

bb:

Dead.

 

Biggie Island January 7, 2012

“It was an island specifically set up to study the E. Big E. Biggie Island.”

bb:

Thanks for starting, Hucka D.

Hucka D.:

You’re welcome.

bb:

Soooo. Is this where man changes to… sorry, monkey changes to man?

Hucka D.:

This is Monkey City.

bb:

I believe I have a bead on this[ line of inquiry], Hucka D. The E was lying on the ground when found. Later? The key is finding the island itself on the Big E, or half the island that is in the Korean Channel — the Pleiablo sim. A tiny bit also intrudes into Wylder.

Hucka D.:

That’s the part you can’t see. That’s what they, the “monkeys”, had to figure out. What happened to the missing bit. They had to find it on another part of the map, and that’s when it all begin to fall apart. Sorry once more…

bb:

That’s all right.

Hucka D.:

Fall into place, I meant to say. Sorry (playfully adjusts sides of bee mouth).

bb:

Now to clarify for the reader, just beyond this island is where Karoz fell into the portal connecting Jeogeot and Maebaleia. He entered the Blue Feather Sea from the Korean Channel. Here’s the post:

https://bakerblinker.wordpress.com/2009/06/01/to-the-inland-sea-once-more-2/

bb:

Karoz’s Inland Sea is the same as our Korean Channel.

Hucka D.:

Correct. Karoz created the fuchsia diamond, 32 primmed, and flung it into this sea as a young lad, still Sapphire’s precious Aquamarine and not yet rebellious Aqua Teen. Or maybe this is where all that started, the rebel forming or shaping. Being molded. Bill.

bb:

Then he also found this same “E” in the Blue Feather Sea. Here, again:

https://bakerblinker.wordpress.com/2009/06/05/e/

Hucka D.:

This is what Chilbo was looking for. Or should have been looking for. The wave has crashed; bit too late now. Maybe for Jeogeot as a whole. But there’s the new energy.

bb:

Yes: Simple.

Hucka D.:

New indications. Biggie Island may be related to the ultra-mysterious Rodeo Island as well, don’t you think?

bb:

May be, Hucka D. The Bee. May be.

Hucka D.:

This is where monkey changes to man. Insert Oblong 10 and 11 or 11 and 10 please.

bb:

Thanks:

The map of the Isle of [Man] is superimposed on top of the monkey in Oblong 11 (second collage), while in Oblong 10 the island remains behind him. Is *this* Biggie Island, then?

Hucka D.:

Yes (!)

bb:

And the monolith is obviously the “E” itself in this case. It would look that way from the channel, except sideways.

Hucka D.:

The dark, opaque spine of the E, you mean.

bb:

Yes.

Hucka D.:

Who found it… monkeys?

bb:

Whatever, when it was found monkey symbolically changes to man, and Isle of Man is superimposed on Monkey[ City?]. Green Gables peak of the Lake District is highlighted as well, since the island sits atop it in Oblong 11.

Hucka D.:

And Oblong 10.

bb:

Right.

bb:

So…

Hucka D.:

So the key is the Box of Oblong passing between the 2 monoliths in Oblong 11, both the [mirrored] graves of St. Burl of Ives. The mirrored part is the “e” side and the “schwa” side of the Big E itself in this case. On this case.

bb:

When Monkey realizes the relationship of the front and the back of the E itself, then it is passed through, like the green Oblong box containing, er, all the letters of the word OBLONG within, according to our analysis at the time.

Hucka D.:

I wasn’t around then.

bb:

Oh, right. Even S.F. wasn’t around at that time. Just a little before.

Hucka D.:

A bit. Bite.

bb:

The green Oblong box is also obviously representative of Ireland, the Emerald Island. The gravestone just to its left in [Oblong 11] is one of Ireland[ surname], and similar in size and shape.

Hucka D.:

Same.

bb:

So we have moved beyond Isle of Man to Ireland, heading more westward. And Ireland is on the map in Oblong 10, the northern part anyway.

Hucka D.:

The southern part would be behind the mountain. The green Oblong box is the southern part behind the mountain moved forward, just like the Isle of Man[ before it?].

bb:

Mysteries of death itself? What happens when a Man dies?

http://www.casttv.com/video/iyxd1b/ballykissangel-assumpta-s-death-video

Hucka D.:

Don stepped outside. 21.

bb:

The mountain the monkey and his dog are on is S.F.: Seathwaite Fell.

Hucka D.:

None other.

bb:

Carrcass-6 has a lot of Irish stuff in it, Hucka D.

Hucka D.:

And Carrcass-5. Carcassonne.

Carcassonne:

Yes?

Hucka D.:

Carrcass-5 and 6?

Carcassonne:

All. Front and back. Side and side. Man and Monkey. Too. All. Two. All.

—–

Additional thoughts for tonight:

When the Big E was found in Haebyon, it was kept a secret because when “monkey changed to man”, they knew it was from the future. The future should not be tampered with — the Big E was there because it was locked into the formation of the Korean Channel in the future (early 2008). It was eventually taken to Meddletown (?) Oh… *that* makes sense because of 2001-Echoes (!).


https://bakerblinker.wordpress.com/2008/03/06/monkey-shock/

And strangely I’ve just been in contact with Mike Johnston mentioned therein after several years. I think he would like *this* synchronicity.

Here’s the whole category on Meddletown on this blog:

https://bakerblinker.wordpress.com/category/jeogeot-continent/meddletown/

It’s all starting to piece together. More soon!

—–

IT WAS TAKEN TO YEODEOL AND SORTED OUT. DIRECTLY EAST OF THE ISLAND AND PART OF MEDDLETOWN, ANCIENT RANGE. FROM THIS THE YEO LINE OF 26 SIMS WAS MANIFESTED TO PREDICT THE CHANNEL. FROM THE BOTTOM OF THESE SIMS EXTENDED ANOTHER 26 WEST TO FORM THE RIGHT ANGLE CORE OF JEOGEOT ITSELF, WHICH HAD ONLY FORM-ED-ED UP TO THE RIFT. [So] the E was taken from Pleiablo directly west to Meddletown — Yeodeol — and sorted into the various letters. They wouldn’t have found T, V, Y, and C, but of course they would have been implied. SURE ABOUT THAT? Warring parties over the E — FLOYD and ABCDEFGHIJKLMNOOPQRSTUVWXYZ? YES.

 

Another December 30, 2011

Another small mountain conquered today. Didn’t take my camera unfortunately, because there were some very interesting nooks and crannies involved, once more. The amazing late 2011 surge of hiking finds continues (!) The highlight was perhaps the uncovering of what looks like a decrepit treehouse in the woods, perhaps a center for rope climbing activities. I’ll have to think carefully about what to call this mountain. I believe — I’m certain, actually — that the Mossmen culture was also tied into this mountain. Maybe yet another map is in order.

I also wanted to talk to Hucka D. about Big E tonight. “Hucka?’

—–

bb:

Sorry, got distracted in googling the names of Korean Channel sims. Can’t seem to find a common outside (real world) denominator, almost as if the names were just made up… almost as if…

Hucka D.:

The alphabet anomaly of the Korean Channel and Big E was their only purpose, yes.

bb (after checking some more):

Yes. It seems. Tired of checking.

Hucka D.:

Hidden within TILE (Tyle?) is the tetractys, composed of 10 letters from T to, looping back to the beginning of the alphabet, C. TUVWXYZABC. Tetractys. Can be summarized by letters T-V-Y-C occupying positions 1-3-6-10 in that lion. Line. (pause)

bb:

Those are the 4 letters not found in the Korean Channel sims [letters beginning sims’ names]. They are instead the hidden tetractys or Realm of Numbers inside or covered by the Realm of Letters.

Hucka D.:

Yes (pause).


Baker Bloch in Kenfield.

bb (after another pause while exploring a bit of the Korean Channel):

I just don’t think there’s much there, Hucka D.

Hucka D.:

No.

bb:

I mean, I’m reminded of why Karoz fell into a portal connecting Jeogeot to Maebaleia after this.

Hucka D.:

Yo.

bb:

Crabwoo is almost completely gone now, Hucka D. Only a shed and a bit of wood left.

Hucka D.:

Ho.

bb:

All I have is Pietmond.

Hucka D.:

And Frank and Herman Parks, of course. Einstein (smiles).

bb:

And a bit of Teepot as well.

Hucka D.L

Yea.

Carcassonne:

I am forgotten. I am alone.

bb:

Couldn’t get to you today. Found some more stuff in Frank Park, though. You know [delete peak name]?

Carcassonne:

No. I know only myself. (un-smiles)

bb:

You should get out more.

Carcassonne:

I have tributaries with different news. (pause)

Hucka D.:

Looks like that’s it.

—-

Hucka D. has apparently left the scene, but I did also want to mention that Pietmond’s newly installed Big E is angled in the same direction as the SoSo East Gallery immediately below it. Relationship, then, between Big E and Oblong collages within SoSo East? Big E as related to 2001’s monolith (pictured in Oblong 10)?

Is Pietmond itself set to make an evolutionary jump?

 

The Latest… April 13, 2011

Filed under: Blue Feather Gallery,Norum — baker Blinker @ 8:22 am

Exchanged a duplicate Norum version of Gallery Jack on my new, Mujigae parcel with an original version of the Blue Feather Gallery. Seems to fit! Had to burrow pretty deep in the Greater Chilbo soil to make room for the still attached Lemon House, though.

So that means the Blue Feather Gallery is no longer in Pietmond. Really it’s back home.

 

Baker continues… February 25, 2011

Filed under: House Greenup,Otaki Gorge,Pietmond — baker Blinker @ 9:03 am

… to poke around the ins and outs of Pietmond, attempting to justify his continued existence there.

He tries to step into the shoes of Ticky Bill, see what he sees from his upstairs quarters in Lime House. He looks directly across the tops of CHRO and SoSo toward Orange House, Baker’s present home in Pietmond and one he can’t seem to be pried away from.

Uneven sidewalk (No Way) outside Lime House. Could this be considered the “bad” side of town? Probably not, but just asking.

Baker decides to stroll up to House Greenup while on No Way. Checking the link back to Gallery Jack inside, he realizes he hasn’t been in this house in perhaps several months, which the cobwebs attest to.

Such a nice location for no one to visit.

He opens “Floydodo” placed on a small table underneath the stairs of House Greenup and reads a passage he’s been thinking about lately. Baker ponders: “Is *this* the forbidden knowledge Peter sought in trying to understand the town’s central labyrinth?”

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.

Baker tries hard to remember but can’t: What is Billfork? Wasn’t that the original name of Pietmond? No, that was Pitchfork. But the names seem too similar.

Baker then googles “billfork” and finds that it is synonymous with a pitchfork, like the Devil’s prodder.

It’s happening again.

 

30x30x30 is correct for the 10×10 February 24, 2011

Baker Bloch, along with me, thinks, “I got it right the first time.”

If the Edwardston Station Gallery can’t be in the middle of Big Sink, the middle of Blackmount Sink is as good as any location for it. The 30x30x30 cube turned out to be the right venue for my “Art 10×10”.

It flitted across my mind just a minute ago to think about downsizing in SL, which means essentially giving up Pietmond. What would that do? Well, it would still leave me with the ESG, cube version (in 2 separate locations in SL now). It would perhaps leave me with Pietmond South. Maybe. I would still keep the Pietmond South Gallery, perhaps adding the collections of SoSo West, Norum, Something to CHRO About, and so on to it. I might keep Gallery Jack, inserting it next door as a memorial to Pietmond (in place of the Home o’ Fibs).

Maybe advertise the last month of Pietmond sometime soon. Hiking season is upon me. My focus will be outdoors at least till the end of May/beginning of June. I can rent additional space, then. And, gasp, I can actually *sell* the land of Otaki Gorge.

But all this is just speculation. I may not give up anything.

Pietmond is about emergence from the enclosed, island-like self into a peninsula self, beginning, really, with SoSo in early December. And connected with this it’s about TILE. I’ve been attempting to explain to Mike C. in more recent emails to him about the design of the labyrinth in the center of the TILE Temple, and how it is a direct representation of Dark Side of the Rainbow.

TILE is more than just the outer 4 colors of this labyrinth (red, green, blue, yellow), which add up to 26 units or separate tiles themselves, correlating with the 26 English alphabet letters. It has to have 10 more to complete, or the numbers 1-10 to make 36 total. The 36-Square is one display of this concept, the 36-Triangle another. Each contains truths and lies about the whole, which is beyond both.

Mouseview from Peter’s Rock: Baker walked the labyrinth, keeping the DSotR correlations in mind. He’s happier now.

 

Gallery Jack, etc. February 13, 2011

Filed under: Gallery Jack,Mãebaleia Continent,Pietmond,The Shallows,Uncategorized — baker Blinker @ 9:54 am

New gallery in Pietmond. Well, sort of. It’s a kind of condensed mashup of all present Pietmond galleries rolled up into one. Gallery Jack is what I call it for now, just a spontaneous choice and no, real connection with the older Gallery Jack that use to hold many of my art 10×10 collages (although a couple of my collages are still within). I’m still working on the details, but when I’m finished I’ll provide a mini-tour. Two duplicate versions of this new Gallery Jack exist right now, one in Pietmond and the other in the Foxboro sim I just set up day before yesterday. The idea, I believe, is that if you don’t have time to visit and walk around all the Pietmond galleries, this acts as a bite sized version of what the town has to offer. Perhaps you’ll like what you see and want to explore more. Or maybe you’ll say, pheh, and move on to other, more exciting (to you) offerings from Our Second Life. Absolutely no prob if you do — so many interesting, creative things going on in this great, virtual universe.

I also see Gallery Jack as a type of Welcome Area to Pietmond in general, and along these lines I think I’d like to create a travel guide. A map is obviously next, with teleport options included. Thinking as well of a Pietmond magazine that links to a web site on the subject.

Gallery Jack (background center) from Downtown’s Rooftop Bar.

==========

Then in other developments, somewhat related, I decided not to rent a 1024 in the heart of the Maebaleia continent (landscape pictured below), but *did* create a nearby hideout of sorts in the center of what might be termed a very shallow sink. I don’t want to give out the exact location quite yet, since it’s a hideout and all, but I’ll provide some pictures.

First the hill beside the property I decided not to rent, in northern Brander. I’m quite impressed with the rolling hills topography of lower central Maebaleia, and definitely plan to explore around there more. I’m unsure if I’ll remain in Foxboro for any length of time, but I have the hideout now, after all…

Here’s a picture of the view out the front window of my hideout (gotta get a name!). Love the car poking out of the landscape there. Reminds me of Carhenge in Nebraska. Is this the last standing car of what was once a type of similar monument?

I should add, for now, that *pyramids* are part of the hideout motif as well, and that, along with the sink aspect, is what drew me to the spot in the first place. I have a feeling Hucka D and/or Chester will have some more things to say about all this. In a number of ways it reminds me of Hucka D.’s Cabron property that he claimed his father use to own, another “hideout”. I can tell Chester is dying to say some things so let’s just open the barn door. “Chester?”

Chester:

*My* property[ this time]. *My* father. Tom. Mount Tom.

bb:

And Porter is a, er, brother?

Chester:

Yes. Gary is an uncle. Uncle Gary. Jackson 5.

bb:

Pretty interesting, Chester (!), given that there are a number of pyramids on the property now.*

So we just happen to start talking to you on the blog, Chester, then just happen to find your old homestead in Second Life.

Chester:

Yes sir.

bb:

Can you tell us more[ of the story]?

Chester:

Link of East and West. Pyramid… Mt. Tom. My father was/is a pyramid. All Seeing.

bb:

Is your father Wilson?

Chester:

My mother is Wheeler.

bb:

Is that a yes, then? Are your father and mother Wilson and Wheeler, then?

Chester:

Yes.

And Porter’s as well.

Chester:

That is correct sir.

bb:

What has Oz got to do with all this?

Chester:

Pink Floyd played at the Egyptian pyramids but not at the Indiana Dunes. Tom solved this by inviting Sink Floyd to play instead. Chesterton is in the middle of a sink.

bb:

You mean my hideout Chesterton. That’s the name? Same as the Indiana city?

Chester:

No. It’s Alliance.

bb:

I also decided, for now at least, not to rent in Blackmount, Chester.

Chester:

I do not know of such things.

bb:

Hucka D. back to traveling[ around]?

Chester:

He has left you with me. Aren’t you happy, aren’t you glad? Hucka D. is bossy. Hucka D. says I like to talk in spades. Card tricks. Just kidding. I like Hucka D. Don’t love him, but like him. Somewhat. No, really, he’s great. Good and great and fair. Semi-fair.

bb:

So Chesterton becomes a new focus. What is the relationship of Chesterton, Indiana to this shallow sink with the hideout that belonged to your father, Chester’s father, in Second Life?

Chester:

Wormhole. The Same. Poking through. All Seeing Eye.

bb:

Is this Jack? One Eyed Jack?

Chester:

Spades.

==========

* see this slightly earlier post for the basic story on pyramids and Chesterton, Indiana

 

Pietmond South Gallery… February 4, 2011

Filed under: Galleries, Baker Bloch,Pietmond,Pietmond South Gallery,Uncategorized — baker Blinker @ 7:59 am

… is now open (!) The multi-level gallery is currently featuring the works of digital artist Kenneth Rougeau on floor 1, including examples from his wonderful “Alice” collage series.

http://slurl.com/secondlife/Otaki%20Gorge/154/27/66

I’ll go into more details soon.

Keep in touch with all my gallery action through the “My SL Galleries” page at the top of this blog.

 

Loose Thoughts… January 4, 2011

All eggs in one basket now: Pietmond. Edwardston Station Gallery importance seems to have shrunk… can’t exist independently. Instead: projected new gallery in sky, kind of building on UFO I had to recently delete, reachable from Underground Pietmond (above-below dichotomy).

Although I probably can’t promote it in Second Life as much as I would want, Pietmond is already a great success. I’m friends with all exhibitors, which I think is important. I enjoyed exhibiting some established SL artists last year, but distance was still great — I was one of many places their art was shown, another stop. The artists’ works I’m showing now are all more distant from the Second Life virtual reality itself. Besides, my SL friend Flora Nordenskiold, who set up my first solo SL exhibit (and only one so far featuring my own work) is really starting to have the bases covered on providing great spaces for established SL artists, often numbering 4 for each new show at her Nordan Art gallery.

The original idea for the Blue Feather Gallery, starting in Noru, went along the lines of what Flora has evolved through Nordan Art (after what she would admit was a rather bumpy beginning; I was involved!). But it didn’t take me long to realize, 1) I didn’t have much of a talent for self promotion needed to be “successful” in the SL art scene, 2) my hours spent in SL are bunched together more in the middle of the night (2am-6am), when most of that virtual world is “asleep” — hard to promote/mingle when no one is around!, 3) I do not consider myself much of a real life artist, in that I’m not dedicated to any one craft in a totally artistic way, in contrast to many SL artists who are successful in real life art as well. (thinking here, for example, of Natsha Lemton, an early exhibitor at the Noru’s Blue Feather Gallery and who subsequently had a showing in Flora’s gallery as well), 4) I’m dedicated now to Linden mainland, and most inworldly successful artists or art galleries work on estate property — not exclusively but I just thought I’d add that in, since it naturally leads to, 5) I see SL as a giant piece of art itself, with mainland a great example of heterogeneous collage that represents a primary media interest. Because of this, I like to explore — I like to immerse myself in the artwork constantly surrounding me in this virtual world. I think for this reason, although I like to visit art galleries I mainly find them to be lacking in and of themselves. I always find myself poking around the vegetation surrounding the galleries. What makes this artist tick, and why are they involving themselves in SL?

So back to the Blue Feather Gallery, what it evolved into (some might say “devolved” here, hehe) was a type of personal shrine to this exoteric art known as mainland, specifically for the continent I call home: Jeogeot. “Jeogeot Through Art and Word,” condensed version, has become the permanent, final exhibit for this particular space. It will probably remain a cornerstone, again just on a personal scale, for any art or art promotion that I will be engaged in. It helps move me away from myself. And appropriately I’ve now been able to incorporate it into Pietmond, which is, on a larger scale, doing the same. And Pietmond itself becomes a small piece of Jeogeot, a fragment of a greater whole.

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Continuing…

Very pleased with the development of the SoSo Gallery and all Pietmond Art Crawl Galleries. SoSo has grown from just showing the 20 collages of my Oblong series to also exhibiting works of others, starting with Mike Casey, an old synching buddy, shall we say, who I’ve corresponded with off and on for about 10 years now. The Oblong series is still within SoSo, true, but in an eastern side that now has a matching, somewhat larger, west part (Casey art).

In thinking about it now, Mike’s exhibit, like the Blue Feather Gallery mentioned before, may be “permanent”, or as permanent as I can promise in the ever shifting world of My Second Life. Connected with this is a very interesting and perhaps still developing set of coincidences surrounding the name origin of SoSo, a *conscious* or purposeful fusion of Peter Gabriel’s top selling So album and the comic corruption of the moniker Peter the Great to Peter the Good and then Peter the So So, or Peter SoSo. But what I didn’t realize until more recently is the *barely* unconscious connection with Led Zeppelin’s similarly archetypal album ZoSo, also generically called Led Zeppelin IV. Here’s the story behind the odd name in case you didn’t know or remember. In reading up myself on the origin, I was interested to see that ZoSo is also a nickname for Zeppelin guitarist Jimmy Page. But all this becomes odder when I find out Mike’s most recent, larger synching project (more on the whole “synching” thing soon enough, I suppose) involves just this very album, and, in particular, the song “Stairway To Heaven” that ends the traditional side 1 of ZoSo/Led Zep IV. The resulting backwards synchronicity, combining this song with a section of The Wizard of Oz movie, is cleverly dubbed “Stairway From Heaven,” and you can see it here:

http://www.youtube.com/watch?v=9HywC71qZOs

In our correspondence, Dr. Casey has talked about, in some detail, the symbolism he finds embedded in the 8 minute synchronicity, which has been of some influence. Just off the top, what I like about it is that the cuing point between the 2 involved media (there’s only 1 cue, differentiating “Stairway From Oz” from a more manipulated audiovisual mashup) is what I’d call “natural” or “unforced”. It is simply “Stairway To Heaven” played backwards (otherwise unmanipulated) to a similarly backwards playing Wizard of Oz, starting right when Dorothy opens the front door of her just crashed farmhouse and enters Oz (Munchkinland) for the first time. Since the movie is playing backwards here, the synch starts with Dorothy *closing* this door, then, instead of opening it, and the backwards “Stairway To Heaven” matching this with what appears to be the phrase, “Love vanquished.”

Quite a powerful view with the subtitles and all, but Mike’s theories concerning SFO are what really struck me. I’d like to see him post these to the web somewhere. Perhaps on this blog?

But I found this little tangle of meaningful coincidences — synchronicities themselves, really, in a classical, Jungian manner — very interesting. In writing all this out, I think it means, on one, basic level, that Mike art should have a permanent place in the SoSo gallery, as mentioned before. I would not take it the logical, last step and rename his part of SoSo ZoSo (too obvious), but the link has nonetheless been locked in.

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I must, then, move on the next gallery specifically created for the Pietmond Art Crawl: Norum. Julie Sadler is a newer friend who featured my involvement in Second Life art in a post on her large, influential Collage Clearinghouse back in 2009. Probably the great majority of *her* friends and followers, at the time, thought — what’s Julie on about here? Virtual art? Textures on prims?

More recently, I asked Julie’s permission to go through her flickr site and select various photo textures for creating art to hang in the brand spanking new Norum Gallery of Pietmond. I thought virtual representations of her collage/mixed media pieces would play well within that small, intimate space, and the final results appear to prove my instincts right. Ms. Sadler seems to agree; she’s even published her own post concerning the Norum Gallery and Pietmond in general to her wonderful blog.

More will develop of this. Besides managing her blog, Julie is super busy creating art in Real Life. Oh, and I believe she also has a regular, day job, like most of us struggling, creative types. The Collage Clearinghouse, while also acting as a podium for others to discuss their own collage efforts if they wish, remains primarily a place Julie shares with the world personal stories of trials and tribulations/successes and achievements with the same. Exposure for any type of artist is a high challenge, but the overall work of collage artists weave in added twists to this old problem. Copyright reverberations spring to mind immediately.

I have promised Julie that I’ll read her blog back to front in the coming months, with further questions from me forthcoming I’m sure. Pietmond is not finished with Julie, I don’t think.

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Which brings us to the Something To CHRO About gallery just across the sidewalk from the Norum Gallery. STCA features a good number of photos by Edna Million, now a known “High Country” artist with several Real Life gallery showings garnishing her creative resume. Edna is also a writer who hopes to published — nay, *will* publish several, perhaps many novels and larger works in the coming years. Photography is a complementary, art focus. And like baker and Julie before her, Edna is also a collage artist, although she hasn’t worked in that medium for a number of years. *And,* Edna also happens to be my (baker b.’s) Real Life wife.

I am projecting a *really* big, future venture fusing our collage sensibilities (and Edna’s photography skills), but it will involve an extended “trip” to Britain, probably months and months in length and which may not happen until we are both retired. In the meantime, Edna has already visited England for 2 weeks with a friend this fall, and my virtual avatar Baker Bloch, aided by a touch of collage magic, hehe, was able to do the same this past spring, as recorded in Pietmond’s final, present gallery: the Tower of TILE.

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And that concludes my little spiel about Pietmond art developments, still a work in progress!