Thursday, December 22, 2005

Text-graphic letter to Martin Corless-Smith from Alan Halsey. Note shadows, historical context and iconoclasm typical of a tonalist.

Thursday, December 15, 2005

A tonalist sighting: The Piazzoni Murals Room in the new De Young Museum in San Francisco. Piazzoni is not identified as a Tonalist in the description next to the panels though his colors are described as "tonal." (Not being identified as such being a tonalist phenomenon.)

The local sea and land is in the panels, interrupted by the wall. The windows of the big room are filled with sky and a sense of space. The wood is expensive.

Asked his religion Piazzoni replied “I think it is California.”

Meeting with Andrew Joron at Celadon Tea House near SPD. Doubt on his part. He orders whatever has the most caffeine.

Andrew -- My sense of the Duncan comment was not so much the poem as a battle plan as that some part of the activity of writing was like what was happening on the ground in the war. Still, the parallels you suggest lay it out well. Field theory was involved. The sense of the field as object, the ability to include anything in the poem because of the power of the field to hold it there, “entangled,” as you say.

Who is implicated? Who were/are the combatants? Who are the invaders? What is the nature of resistance? At first the insurgency was called the resistance. Now the US says that the insurgency includes foreign fighters and yet, of course, most of the foreign fighters in Iraq are American.

To be effective in an asymmetrical conflict like those that occur today one must be non-linear, non-hierarchical, opportunistic, networked, precise and memorable.

Amateurs, it is said, discuss theory; professionals discuss logistics. Halsey (below): “Emotion is created by precision.”

Resist myth(unless you are caught in one?)

Every day the dark. The explosion of the sunset. The real explosions.