There was no place like home, notwithstanding that home could be considered to be anywhere at all. Home in this case was Blithe’s patio one balmy September evening. Citronella candles flickered on the table, and coloured fairy lights strobed in strings along the facade of the house. A rosy glow emanated from the bedroom window and Blithe took a snapshot, noticing later the fly screen visible, overlayed onto the bedroom scene. Not only was the view of the bedroom limited by the width of the camera lens, it was also limited in the sense that the wire screen was obscuring almost half of what would have been visible if the photograph had been taken from the other side of the screen, or, with no screen at all in between the lens and the view of the room. However, despite having such a partial view of the whole, the remainder that was viewable was still identifiable as a bedroom.

Blithe wasn’t about to remove the screen however, because it was doing its job of screening, or filtering out, the unwanted insects. That wasn’t to say that she was denying the existance of those insects, or that they weren’t welcome on the other side of the screen, just that she was selectively screening the unwanted items from a particular scene. If, for example, the room was full of insects, Blithe might have been preoccupied with them, to the exclusion of whatever else she might have preferred to focus on within the bedroom. Out on the patio, however, the insects were, if not always entirely welcome, appreciated. The praying mantis and the dragonfly were welcome, and the butterflies and moths were always welcome, because Blithe had associated the energy of those insects with familiar welcome energies. The wasps, flies and ants were not translated in the same way, but were appreciated for entirely different reasons, being an aid to exploring such issues as irritation (and occasionally, pain). Blithe had to admit that despite the praying mantis and dragonfly being welcome, it would not be true to say that they were welcome in the bedroom, however.

There had been times when Blithe wished that the whole patio was enclosed in screens, but the trouble with screens was that they tended to filter out everything of a certain size, although perhaps that was more a beleif about physical screens than anything else. Was it possible to filter out flies and wasps, but allow dragnflies and butterflies? Possible surely, she thought, but perhaps not with physical wire screen devices and associated beleifs.

A few days previously Blithe had cleaned the mesh filter on her kitchen tap, unrestricting the flow. Coincidentally, her friend had also had a tap mesh restricted flow incident, and had removed the mesh filter altogether. Another friend had removed a window screen for cleaning, and had chosen not to replace it, as she was appreciating the allowance of much more light. And then another friend had mentioned a dream, of dragonflies under a screen that was covering a pool. She had lifted the screen in the dream, to allow the dragonflies to escape, and yet some of the dragonflies chose to stay under the screen.

Intrigued with the words screen and mesh, which meant the same thing in one respect, but not in others, Blithe investigated the definitions. To screen could be to filter out the unwanted, but to mesh was to weave together. But were they so different, really? A screen was also a blank place on which to project images ~ meshed and woven selectively screened and filtered images, perhaps.

{link ~ weaving}

While Yuhara and Sylvestrus were exploring Second Life worlds (Frolic Caper~Belle was still on an extended leave of absence), Blithe Gambol, although she didn’t entirely realize it at the time, was exploring First Life worlds on the Coast of Light.

Blithe and her partner Winn set off for the drum festival in the late afternoon heat, with the intention of reaching the Light Coast before sundown. The strong low sun flickered on and off as it hid behind trees and hills, and the hot dry wind whipped Blithes hair into her eyes, leaving the heavy heat of the Coast of the Sun behind and tranforming it into a light bone dry atmosphere that seemed to suck the air out of Blithe’s lungs. She filled the vacuum with smoke, listening to the words of the music playing ~ must be a reason why I’m king of my castle….king of my castle…it reminded her of Dealea’s story about King Author.

When they reached Vejer de la Frontera they made a wrong turning, although they were well aware that no turning is a wrong one. The new direction took them in a circle behind the Vejer promontory, through the umbrella pines along the coast. The sky was golden yellow behind the black sillouttes on one side, with a periwinkle sea on the other, rocky pale grey outcrops blushed with pink paddling in the gently lapping waves.

As they entered the village of Canos de Meca, they slowed to crawl behind the inching cars, as tanned people in brightly coloured clothes wove in and out of the traffic, and in and out of the exotic looking bars and restaurants. Blithe remembered the Second Life worlds she had been exploring earlier that day, and wondered if Second Life came with the smells of sardines barbequeing on the beach, or a warm breeze wafting past laden with snatches of laughter and conversation. Visually, certainly, Second Life would be hard presssed to beat the visual appeal of Canos de Meca at sunset on an August evening. There were plenty of opportunities to observe the people and the hostelries, as the traffic got progressively worse until it eventually came to a standstill. The narrow lanes were lined with parked cars, and throngs of people carrying coolers made their way to the sand dunes near the lighthouse.

Eventually, after several slow drives past looking for a miraculous parking space that didn’t appear, Blithe and Winn found a restaurant in between the coastal villages that was strangely empty of people. Even Winn, who was much less inclined towards fanciful imaginings than Blithe, remarked on how surreal the place was. It could have been anywhere in Spain, so strangely ordinary was its appearance in comparison to the Moorish beach hippy style of the villages. They ordered food, and relaxed in easy silence in the oasis of calm ordinariness. Blithe wondered if the place actually existed or if she had created it out of thin air, just for a respite and a parking place, and a clean unoccupied loo. Another First Life world, perhaps, constructed in the moment to meet the current requirements of ease.

At 11:11, after another two drives through the crawling cars and crowds, Winn turned the car around and headed for home. At 12:12 they reached the Coast of the Sun, shrouded in sea mist, and at 1:00am precisely, they arrived home. Later, as Blithe lay on the bed listening to the drums playing on the music machine, she closed her eyes and saw the sunset over the Atlantic, and felt the ocean breeze of the fan. She projected her attention to the dunes of Trafalgar ~ which, incidentally, didn’t take two hours, it was instant. In another instant, she was back in her bedroom, sipping agua con gas on the rocks and chatting to Winn. Seconds later, she was in a vibrant nightclub overlooking the beach, dancing in spirit between the jostling holidaymakers being served at the bar. She imagined that one or two of them noticed her energy.

Clearly, teleporting from one place to another had its benefits. The question of parking, for example, wouldn’t arise. But Blithe wouldn’t have wanted to miss the late afternoon drive to the Coast of Light, and the golden slanting lightbeams flickering between the cork oaks making their cork shorn trunks glow red, or the ocean appearing over the crest of a hill. And if she had arrived in an instant at the location she was intending to visit, then she would never have encountered the sunset from the particular angle of the approach via the wrong turn. Variety ~ and impulse, and the opportunities of the unexpected turns ~ was the weft of weaving First Life worlds ~ or was it the warp?

link: weaving worlds

Whether or not Arachne was actually better at weaving than Athena is still a mystery, or perhaps it is a moot point and no mystery at all. Weaving is by no means a solitary endeavour, as Blithe found early one summer morning. The river mist was rising and the air itself was dancing in droplets. It was hard to determine if the droplets were falling or rising, or simply milling around on the air currents. Hard green oranges (clearly oranges had been named in winter, or they would likely have been called greens) were festooned with silver threads, linking orange to orange, orange to tree and tree to wire fence, and back again. It was debatable whether or not the individual spiders were aware of the grand overall design of the early morning web links of the orange groves, just as it was equally debatable whether or not the inhabitants of the various Gibber realities were aware of the network of waterpipes that connected the other inhabitants to themselves and each other, and to the other Gibber worlds. Individuals were individuals, whether they be spiders, or Gibblets, and individuals generally speaking were focused on their own part of the tapestry (and often those of their immediate neighbours). Spider 57 on the east fence might be positioned to catch the first rays of sunshine in the mornings, but Spider 486,971 over near the dung heap was in a better position to catch the afternoon flies. And so on, as somebody famous once said.

As Blithe prowled around the orchard capturing potential clues on her Clumera she inevitably became part of the laybrinthine web of sticky threads herself, as they attached themselves to her hair and clothing. All of the gaps between the solids in the field were joined together with spun filaments, just as the Gibblets were joined together with fun spillaments (although leaking waterpipes were sadly misinterpreted as not-fun all too often, despite that they could be used as an opportunity to view the connections of the Waterpunk more comprehensively.)

The individual spiders lacy parlours were framed in wire squares, several hundred, if not more, along the perimeter fences. Not every wire fence square was filled; there were many vacant lots between established residences ~ whether by practical design or mere happenstance, Blithe couldn’t say. Many of the individual webs were whole and perfect, like the windows of Lower Gibber whose inhabitants kept their lace curtains clean and neatly hung. Many of the webs on the wire fence were not perfect in the symetrical sense ~ some had gaping holes, and there were those that appeared to be unfinished, despite showing great potential. Others appeared to be abandoned, hanging in shreds, not unlike many of the residences in Upper Gibber.

The wire framed residences of the field (and likewise the peeling paint framed residences of Upper Gibber) that appeared to be defunct were not quite as they seemed, however. They were simply being viewed from a different timeframe. It was quite possible to view each wire or peeled paint framed en-trance side by side, notwithstanding that they were, so to speak, located in varying timeframes. All that was required was a more flexible viewpoint, and an ability to view more than one timeframe simultaneously. It was all a question of allowing an entrance to en-trance ~ which was, after all, its function.

{link: misty morning; entrance}

The entrances to Faerie (and indeed to other alternate realities and dimensions) had been shrouded in disbelief for several centuries, but times were changing and the fog of scepticism was dissipating, evaporating like river mist on a hot summer morning. Looking for the entrances deliberately, Blithe found, wasn’t the most efficacious method. Sat Nav alone would be unlikely to reveal them, unless the locating device was used in conjunction with impulse and intuition. Any device and method could be used effectively when combined with random impulse, even Google Earth or Google Moon. Blithe’s friend and colleage Dealea Flare was making good use of this device on her travels, using it as a personal non physical airline and space shuttle service. Dealea could get from A to B and back again in no time at all, or even from A to well beyond Z and back again in no time at all using this device in conjunction with impulse and large dose of intention and focus. Blithe had the impulse down pat but still had difficulty with the focus, which was largely a case of having too many intentions at once, most of them somewhat vague.

The more random and impulsive Blithe was, the better her investigations went, often leading her into a new and exciting exploration which may or may not be linked to the current intention. Such was the case when she went on a mundane shopping trip to the Rock of Gibber. As she sat sipping coffee at the Counterpart Cabana sidewalk cafe listening to the locals conversing in Gibberish, she noticed the extraordinary tangle of pipework on the building opposite. It reminded her of the steampunk world she had been investigating in her spare time. The text book steampunk world was intriguing to say the least, but rather grim, and tediously full of victims and fear. The inhabitants always seemed to be running away from someone. The steampunk world she was beginning to sense in Gibber was quite different in that it was a sunny cheerful alternate reality held together with a vast labyrinthine network of water pipes, scaffold, and connecting cables.

Blithe paid for her coffee and strolled off, noticing more and more scaffolding and tangles of pipes as she climbed the warren of narrow winding streets. The air was different the higher she climbed up the winding uneven steps, the sunlight was sharper and the shadows denser, and there was a crackling kind of hush as if the air was shimmering. Cables festooned the crumbling shuttered buildings like cobwebs, and centuries of layers of crackled sun faded pastel paint coated the closed doors. Open doors revealed dark passageways and alleys with bright rectangles of light glowing in the distance, and golden dry weeds sprouted from vents and windowsills casting dancing shadows on the uneven walls.

The usual signs of life were strangely absent and present at the same time; an occasional voice was heard from inside one of the houses, and there were pots of flowers growing here and there, indicating that a human hand had watered them with water from the pipe network. There was no music to be heard though, or any indication that the cable network was in use, and there were virtually no people on the streets. A lady in a brilliant blue dress who was climbing the steps from Gibber Town below paused to chat, agreeing with Blithe who remarked on the peaceful beauty of the place. The lady in blue said “Si, it’s very nice, but there are many steps, so many steps. If you are coming from below there are SO many steps!”

There was a boy watching a white dog watching an empty space on the pavement, so Blithe stopped to watch the boy watching the dog watching nothing. Eventually Blithe inquired “What is he looking at?” and the boy shrugged and continued to watch the dog watching nothing. Blithe watched for a little while, and then wandered off. A small child was giggling from inside a doorway, and a mothers voice asked what he was laughing at. The child was looking out of the door at nothing as far as Blithe could see.

As the sun climbed higher, Blithe began to descend into Gibber town, winding and weaving through the alleys, wondering how she had failed to notice this place half way up the Rock until now. She came to a crumbling wall with a doorway in it that looked out over the bay beyond the town below. This must be one of the entrances, she deduced, to this alternate world in Gibber. “Entrance”! Blithe had a revelation. “I never noticed that the word ENtrance and enTRANCE are spelled the same.” Later, back at the office, Frolic Caper-Belle said she thought it was probably a very significant clue. “I’ll file that in the Clue Box, Blithe”, she said.

{link: entrance}

Sanso had been hanging around for far too long, trying to make sense of all the funny ideas that people have, and trying to get to grips with all their adventures and escapades, their convoluted ponderings, and all the friends and associates that were continually weaving themselves through the many threads. He’d all but forgotten that he was a wanderer by nature, used to travelling alone. Somehow he’d become stuck in their ways, despite not ever really fitting in completely, and he wasn’t entirely sure how it had happened. Perhaps it had been the broccoli. With a defiant devil may care spirit, he’d eaten the broccoli
from the jar marked “You Fool”, when all the others had chosen the broccoli in the jar labeled “Thank You”. Well, he’d chosen it, there was no blaming anyone else for it, after all. But the effects had all but worn off, and he was starting to get the old familiar itch to travel again, to explore.

“You can go in any direction you want” he heard himself say as he mentally transported himself back to a scene in his Story. “You’ll always be at the centre of everything.”

How very strange that he’d forgotten that. That brocolli was powerful stuff.

“You interpret the signs however you want to…” the voice of Sanso In Another Scene continued, “and then you act on it. And I’ll tell you this as well, it’s about time you stopped rehashing Old Scenes and started exploring some new ones. Just go, go now! Put one foot in front of the other, and just go ~ go back into the cave.”

Sanso was on the verge of protesting that he didn’t have a plan, and then remembered how much he liked surprises.

For the briefest moment, Sanso wondered if he should leave a note for anyone, or get the laundry in before he set off, or pack a suitcase or something, but decided to start off as he meant to carry on ~ alone, impulsive and free to wander the world of his own making.

There was a large black cow blocking the entrance to the cave. The cow was dead and bloated, although it hadn’t started to smell yet. Sanso wondered whether it was a sign, and decided that it was. It would be rather pointless to create a large dead cow blocking the cave entrance if it had no significance to the story, he deduced, although he hadn’t yet worked out an appropriate meaning for the sign.

Weighing up his options, Sanso realized there were several choices he could make. He could delete the previous paragraph, and simply walk into the cave. He could wait until the cow decomposed, and then simply climb over the bones. He could wander around until he found another cave entrance, or simply teleport himself into the cave behind the cow.

However, the only option that he could think of that would include the Meaning of the Dead Cow Blocking The Cave Entrance would be to stay with the cow until the meaning had been found. If he ignored the cow, he might be Missing An Important Meaning. Notwithstanding, the meaning may turn up later, whether he forgot about it or not.

Sanso decided to sit and meditate on the Meaning of the Cow before proceeding. He could change his mind at any moment if he got bored.

Some shaven sheep on the floor where mother goose got pens… that’s what I call giant game! Meddling it’s intricate design, and its daft words pointed to the distinct lack of any mention of God.

We’re talking threads, spinning a myth, warming and weaving, all meaningless beleifs with which to travel, peanuts that can’t be contained inside ones own weaving, in and out of the warped story, and the weft Text.

Viewers may be considerd to be a patchwork piece. These indiviual multitudes are loom weights to create a tapestry in the style, so to speak, of the background qualities of Finnley.

In this focus you choose this situation, that of God. You shall focus an attention to detail and perfection, balance, movement, with tremendous detail.

“Tell me about it” remarked God drily, offering challenging information. “The Sumari does not concern itself with Finnley” who stuck her tongue out at God, sighed in resignation and reached for the peanuts. “No point in fighting your warp.”

“Allow me to explain about loom weights,” said the man in the elaborate blue turban. “You create a type of pattern, so to speak, a tapestry. The picture of the tapestry is created in the style, so to speak, of the qualities of the family that you align with. The details and the background threads of the tapestry are the expressions of qualities of the family that you are belonging to.”

“I knew this tapestry and weaving stuff would fit in somewhere” interrupted LizAnn.

“Shh!” said Finnley.

“In this” the man in the blue turban continued, “You may notice certain qualities and expressions throughout your focus that appear to underlie all of your directions that you choose within your particular focus. This is the influence of the family that you are belonging to – in this situation, that of Sumafi.” He looked pointedly at Godfrey. “You shall notice throughout your focus what may be expressed as an attention to detail in the qualities of the Sumafi family, and at times this may be associated within your societal beliefs and definitions as a type of perfectionism.

“This is counterbalanced by the Sumari” he said with a glance at LizAnn, “Who do not concern their movement with tremendous attention to detail.”

“Tell me about it” remarked Godfrey drily.

The man in the blue turban grinned and continued, “The expression and qualities of the Sumari are merely to be creating new directions and offering challenging information which shall spark new explorations of your reality. But the attention of the Sumari does not concern itself with outcomes or endings or detail.”

“Yes, we had noticed” interjected Finnley, who stuck her tongue out at LizAnn. LizAnn made a rude gesture to Finnley and said “See, I told you I couldn’t help it.”

Godfrey sighed in resignation and reached for the peanuts. “I suppose the point of all that is that there’s no point in fighting your warp. Or is it weft?”

“Serenely on her tiny loom she weaves her story with careful art.
And who am I, with meddling pen to send it’s loveliness apart?

For I, who am a weaver, too, look on that intricate design,
And know its daft embroideries are just as beautiful as mine….”

LizAnn read the poem out loud, subsituting a few words of her own, and pointed out to Godfrey the distinct lack of any mention of spiders.

“We don’t have to include any actual spiders, Godfrey,” she said firmly. “Forget the spiders! We’re talking here about weaving a story from all the loose threads, not spinning a web with which to ensnare anyone. The myths” continued LizAnn, warming to the subject, “Concerning spiders and weaving are being rewoven anew. The Text Tiles are myriad, and all equally meaningless. The purpose of Text Tiles is no longer a sticky web of beleifs with which to ensnare the unsuspecting traveller, but a patchwork of …of….”

“Lost your thread, LizAnn?” inquired Gordon, smugly.

“You rude old coot” she replied, “Have some more peanuts, and allow me to finish.”

“Finish? Well, that will be a first.”

“What I was trying to say is that the weaving of the story can’t be contained inside the confines of the linearly constructed Reality Play. One only needs to focus on ones own weaving, in and out of the warped story, and the weft wide world outside, so to speak. The same principle applies to the other weavers and the Text Tile viewers. Each comment may be considerd to be a single Text Tile, or patchwork piece. These indiviual Text Tiles may be arranged in multitudes of ways according to the manner in which they are woven into an individuals own story weaving experience.”

“That’s as may be, LizAnn, but what about loom weights? To anchor the warp? Or is it the weft…”

Franlise had an outward beauty which matched the sweet loveliness of her inner being. Yes, she was a vision of pure loveliness, and many gallant knight had attempted to woo her away from her cleaning job. But Franlise knew that it was here, amongst the filth and dust of Ann’s office, that her true work was done. By day a cleaner, by night she toiled endlessly weaving Anne’s words into works of beauty. Words which would then go out into the world and give solace to many a despondent and lonely reader. To know that her words gave hope where once there was despair was all the thanks that Franlise needed.

Of course no one must know it was Franlise who was the true author. The Fellowship had insisted when they gave Franlise her mission that her part be kept hidden. Being humble, as well as outwardly beautiful and inwardly lovely, Franlise was happy to obey the wishes of the Fellowship in this matter. Besides, she knew that if Ann were to find out the truth, the pour deranged creature would probably be driven to place of complete madness.

Franlise shuddered at the thought.

String Theory

I am an artist, painting a portrait of my reality in vibrations, the physical culmination of tone and hue. Like a spiders web, a single line from a single spider, weaved in and out in a circular fashion, and I expect to connect all things in a linear fashion. But I do not. Yet any portion of my web is the precise area of my intent to snare the intended victim. So I hide in expectation of biting the head off and consuming it. In the dark, alone, like a dirty little secret.
And I think the string itself is a thread of association, much like the thread of a discussion tracked on email mailing lists. And the string can go in many directions, many hues, weaving a web of interaction, a sticky internet, iridescent in the morning dew. I notice the taste of this reality morning, before venturing off into other realms of daydreams. Other realities that are unfamiliar.
The spider inside her calls out in strings of nine, as I know the victim is me and my own ideas of self.

(from Share):paperclip:

Elizabeth was beginning to realize that there WAS no ‘end of the road’, no grand finale, no finish line. Whenever her characters appeared to be nearing the proposed grand point of the story, she found herself following another thread in the impossibly huge tapestry. Maybe she didn’t want it to end, or perhaps it was that there was no ‘point’, no end point to aim for, that it was all just a process, a continual weaving of marvelously coloured threads. Some threads were gaily coloured silks, some were rough and coarse, some were woolly and comforting, and others were plain and functional. There were threads of the most unusual and unexpected fibres, other worldly threads tying the myriad dimensions and chapters together somehow. It really was the most fabulously intricate and absorbing construction.

India Louise shivered in the draughty corridor and glanced furtively over her shoulder. Bill! she hissed into the keyhole. She tapped softly on the door again, afraid of waking Manon in the next room. It would be difficult enough to explain to Bill, let alone trying to explain to the nosy and rather batty cook.

She wrapped her dressing gown tightly round her, and felt the weighty key clunk against her thigh. Eugenia and India Louise had been playing ‘let’s pretend’ with the key that Grandad Wrick had thrown on the bonfire (that India found in the ashes the next day and thought would make a super present for Eugenia….. they both loved odd little gifts).

For days they’d been wandering around the many corridors and wings of the Wrick castle, and Eugenia’s ancient rambling Sandlebright Hall. On fine days they’d explored the grounds, the aviaries and stables and hay barns, the meadows and follies, the lodges and farm cottages, through the spinney to the river and the boathouse, and back through the rose arbours… imagining themselves in different times and places, as different people, making up stories and weaving the key into each little story…… the murder at the boathouse and the key to the mystery… the key to the kitchen and the affairs of the cook… the parrots and the key to the bird cage…… the key to the captains trunk in the attic…

Until they found the place where the key didn’t fit into the story…that is to say, the one place that should have needed a key, The Locked Room that only great grandad Wrick ever went in, was unlocked.

India Louise couldn’t wait to tell Bill all about it.