The Film/Album Synchronicity BoardExcerpt, Chapter 24
Wednesday, 21-Jun-2000216.88.24.134 writes:
(original journal entry composed on back porch...June 20, 2000)
I often wonder, while sitting here, what route Rupert took to get to my back porch, whether he just materialized out of thin air or actually had some type of craft that he landed in a nearby field perhaps. My thoughts invariably return, when dwelling on this subject, to the wood behind my house, thick with rhododendron and harboring a gently cascading loop of Harrison Creek, as well as a large rock formation and a pond centered by two smaller rocks. Another mysterious site: the old farmhouse just beyond the creek, well kept but obviously deserted. Certain set psychological variations to this small but complex landscape seemed to emerged in my explorations, even with my first forays into the area. A die was cast, a template, later capped by the discovery of a perfect central place to build a hut for creativity and general meditation, within earshot of the largest cascade on the creek loop but also permitting a view of the surrounding mountainsides. I see it as a lower octave of our own house lying further up the same ridge, where it widens out. And just above the hut a toy city called Harmonia, a place where criss-crossing harmonics belonging to the ruling King and Queen are related to each other through a synthesis of 3 and 7. The white diamond center, a perfect 10.
Our house lies right on the edge of this wood, accessible from our back yard but with no actual path to the places I mention above. Just wandering through rhododendron along naturally worn routes. Are these barely discernible paths the way Rupert reached our house? Did he land near the farmhouse? Is there some kind of dimensional doorway in this wood, the reason why it is protected while all is being developed around it? The eyes in the Cave at Harrisonia are mine, but perhaps the cave is not the center--perhaps it is somewhere back there instead. I've long left the cartoon characters Drew and Jim Carey on top of Riddle Knob, watching as a similarly cartooned George Harrison rescues Riddle (Darwin McGlumphy) through a dimensional vortex connecting the mountain to Harrisonia Cave. Inside, I see Darwin/Riddle drying up, like SpongeBobSquarePants in the air dome of Sandy Squirrel, his eyes dilating in black voids, his porous yellow exterior quickly petrifying in brown death. He does not belong in this time--is alien to it like a 2 footed fish out of water. Darwin does not make it to the door, but George does, as the white hot sun first begins to wash across his emerging head. The white light of Sirius.
(7:05pm): I think I'm beginning to see it now. All the centers are interconnected: pond, cascades, farmhouse, island, hut site. Each is a vortex for different types of manifestations; each can be seen as a part of Rupert, the hut area his head, the cascades an arm perhaps, and so on. Rejoined like Osiris by Isis (Sirius). It follows that the *wood itself* is a physical manifestation of Rupert. Future affects past here; my growing ideas about the area dimly reflecting an already finished product. And intertwined with this: the Dark Side of the Rainbow complex. Obviously. One does not exist without the other.
Darwin is dead...trapped inside a past-time infrared void infinitely reflecting the wrong direction. If George=John=Paul=Rupert, this void becomes 24 Cleveland inside a sandwiching 23-25 Harrison. The creation of Oz on a higher octave.
Centennial.
Booker T.