Sandbox Experiment #8
(Analysis #1)

So here was the plan. Booker T. was to find Hucka D. in Second Life and ask him questions in private about what happened in the treehouse and also afterwards in the van and the gulch off the island. Then he would ask me the same questions. Trouble was, Booker T., despite extensive efforts, could not find a trace of Hucka D. through SL searches, logs, anything. That's when he put forth his theory to me that Hucka D. was not an avatar within Second Life, but, just like the main character of the movie "Tron", he was a user somehow
transplanted within the "game grid". Booker... well let's just cut to our interview, which we decided to again hold in the treehouse in the central tree of [delete name] park in Second Life.

*****

baker:
Booker, so we are going to save this interview in Second Life by letting the chat history record what we say, and then just do an export of this history into Microsoft Works later on.

Booker:
Right, sounds good.

baker:
So let's start off with what we need to start off with. Your theory that Hucka D. is a user, and, if so, from a future version of Second Life and not the present version we're currently in... I suppose!

Booker:
You were more absorbed in the events of the night, being that it was your synchronicity we were preparing to see, although it didn't turn out to be the one you were expecting.

baker:
No, it wasn't.

Booker:
I realized at the time that it probably was not possible to swap eyes in Second Life, even given the power of advanced scripting. Well, I suppose I should say it might be possible to swap eyes but then you couldn't actually see through his eyes and he yours.

baker:
No, I suppose in hindsight this would not be possible.

Booker:
So following up on that one probable impossibility, it is also most likely not possible -- in fact I'd bet the house on it -- to play even that shorter synchronicity in this virtual reality. So I believe this is from the future as well, along with the swapping eyes part. We were, in short, in a time warp in this treehouse last night, and Hucka D. was the cause of it. In the future, apparently, the user can materialize here directly, at least in comparison to us, here and now.

Then there's the things about the actual make-up of the video in the programmed cube, or what Hucka D. called a half wizard's cube. I think this is the point where even you realized something...

baker (interrupting): I realized that you should have been there with us. It did really start to get queer when you brought up "island" for no apparently reason, and then, especially, when you said you remembered going to the island with us yet, to me, you weren't there. You were still in the van back here. I don't think that would be possible, do you?

Booker:
I was at the island with you, or off the coast of the small island. I described basically everything you saw and felt and touched. I described the cube.

baker:
Is it even possible for the van, in current SL, to appear that much larger on the inside that it is on the outside? There was that whole inside-outside thing at the end, and not knowing which was which. It gets really confusing there.

Booker:
I think that had to do with Hucka D. as well... somehow we became absorbed, perhaps when he attempted to make a transition again back to the real world, or *his* real world, in the future. At least that's a theory.

baker:
So you think Hucka D. was aware of all this and we weren't, or especially I wasn't, at least until almost the end of the process?

Booker:
Yes. So we need to carefully look at that video again, Kansas City Life. He wanted to use your eyes to see it, but he also, I feel, knew that it was just a beginning, or when one first shifted over to two. The second movie in the synchronicity, 200, represent the number 2 as well, and also, I think, Second Life itself, in the center, as it were, of real life or First Life. In the synchronicity this is also an exactly 2 minute section of film of 200 where we are introduced to the town of Centerville, described as being a real nice place to raise your kids up, and a place with a curious mashup of both churches and liquor stores. Sounds like the high verses low mashup tendencies of Second Life as well.

So for Hucka D., apparently these two realities have merged in a much more complete manner than we can realize at this time. They fit much more seamlessly together, just like the 2 movies of the K.C. Life synchronicity are a natural fit.

Hucka D. would understand that the rearranging of the marked sections of The Wizard of Oz movie within the synchronicity, 4 in number, would equate with the current teleportation methods used in Second Life. So in the synchronicity you have movements 2-5 of Reich's City Life played in order, with the 2 minute interrupted by 200 in the center, again… and I should add here that this is the *exact* center of this synchronicity. But let me back up and say that movements 2-3 are on one side of this center, and movements 4-5 play on the other side of this center, but both are precisely 8 minutes and 42 seconds long, for a total of 17:24. When you add the 2 minute center into the equation, the total moves to 19:24 for the entire synchronicity.

City Life within Kansas City Life

2-3-*-4-5

Turning to The Wizard of Oz you have, in contrast, a shuffling around of the matched video for the City Life audio. We have the entire introductory Kansas part of the movie, save that 2 minute hole in the very middle, but it is rearranged as follows. To match these tile numbers better with the City Life tracks, lets begin numbering them at 2 instead of 1:

The Wizard of Oz within K.C. Life

3-4-*-2-5

I propose that all this has also something to do directly with Dark Side of the Rainbow, and this is a thing that I believe greatly interested Hucka D. as well, going along with the shift of 1 to 2.

Baker:
How so?

Booker:
Well, baker, why don't you try that one on for size.

Baker:
Well ok. Dark Side of the Rainbow, as matched with one and only one play of Dark Side of the Moon, is logically divided into two parts that are the same as the two side of the original lp album. These can be called the "Kansas side" and the "Oz side". They are not equal in length, but they are exactly equal nonetheless, just like the front and back of one vinyl album would be the same size…

Booker (interrupting):
What I think Hucka D. saw, baker, is that K.C. Life added energy to or perhaps is actually superimposed on the Kansas side of Dark Side of the Rainbow, allowing it to rise above the Oz part of the synchronicity, not a lot but a perceptible bit. K.C. Life allowed the Kansas part of the synchronicity to *not be refracted*. This is also the same as the half of TILE, or the A-M part, that remained perfect and didn't go through the start of the corruption process that stained the Oz half. K. C. Life ends with Dorothy transitioning from Kansas to Oz. That's where the refraction started, the corruption. So you must look at that exactly centered 2 minute hole quite closely, I think, which is an addition to Dark Side for certain. 8:42 on each side of it; two movements of City Life and also two shifted video tiles of The Wizard of Oz on each side. Also these movie tiles happen to correspond to one particular track of Dark Side of the Moon playing within The Wizard of Oz at these points as well, or

Speak To Me/Breath - Movement 2
On The Run - Movement 3
Time (minus beginning) - Movement 4
Great Gig in the Sky - Movement 5

Then we have the matching heartbeats between City Life and Dark Side of the Moon to begin both Wizard of Oz synchronicities, at least according to movie tile order.

Hucka D. saw more than you saw in this synchronicity. This is also the point of the handoff between you and [delete syncher]. This is not your synchronicity any more.

Baker:
No.

Booker:
Whose is it?

Baker:
I cannot say.

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