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I found this political cartoon over at Dr. Sanity and just had to share it with you.
A little while ago I watched a sparring match on Fox between former Senator Dennis Deconcini (Dem-Arizona) and a conservative commentator. Senator Deconcini was given the opportunity to state what the Dems would be doing different in the War on Terror, and he rose to the bait with a now predictable litany of Bush-is-the-problem talking points. Five years into this War, after waiting on a Dem's response innumerable times, two facts are very clear to me; 1. Our homeland hasn't been attacked again. 2. The Democrats have no plan. I believe the essential difference between the Republicans and the Democrats is simply this: Republicans believe that the key event at the dawn of the 21st century was the terrorist attacks on September 11, 2001, and the Democrats believe that it was the Supreme Court decision handed down in Bush v Gore on December 12, 2000 destroying their hopes of regaining the White House. Bush is determined to fight Terrorism and the Dems seem determined to fight Bush.
I'll leave you with a passage from Warfighting (Marine Corps Doctrinal Publication 1).
Decisionmaking is essential to the conduct of war since all actions are the result of decisions or of nondecisions. If we fail to make a decision out of lack of will, we have willingly surrendered the intiative to our foe. If we consciously postpone taking action for some reason, this is a decision. Thus, as a basis for action, any decision is generally better than no decision.
Since war is a conflict between opposing wills, we cannot make decisions in a vacuum. We must make our decisions in light of the enemy's anticipated reactions and counteractions, recognizing that while we are trying to impose our will on the enemy, he is trying to do the same to us.
Time is the critical factor in effective decisionmaking-often the most important factor. A key part of effective decisionmaking is realizing how much decision time is available and making the most of that time. In general, whoever can make and implement decisions consistently faster gains a tremendous, often decisive advantage......
Before the Storm - Study of irrigation ditch
Here's the present state of "Before the Storm". I've been working on the foreground and the irrigation ditch leading into the middle ground. The creative challenge has been to find a visual language and appropriate color palette to render the stray wheat growing in the foreground and the crumbling wall of the ditch. The wheat has full fuzzy heads of ripe grain, and the wall of the irrigation ditch has both soft soil and jagged protruding stones. Problem: lots of soft and hard edges at a time of the day, the gloam, when everything is dissolving.
I've tried to use direct and energetic brushwork to echo the mulberry tree foliage. This is done with several sizes of filbert brushes loaded with paint mixed with drying medium to a syrupy consistency. The medium I use allows the oils to set up quickly. Once the colors are almost dry to the touch, but still slightly tacky, I go back in with a large dry filbert and delicately "caress" the surface to unify the brushwork. This method avoids muddying the colors, marries the different surface areas, yet allows the basic energy of the original stokes to come through.
My palette relies heavily on the relationship between green and violet. It also takes into consideration the complimentary of violet, which is yellow. In the background a full pale yellow moon is rising in a cloudless softly muted purple sky. To keep things natural and at the same time capture the elegiac mood of the gloam, I've mixed a touch of burnt umber and cobat violet dark into almost all my color mixures. At this wonderful time of the day, which photos can rarely capture, objects take on an inner glow; I've focused on the stones tumbling out and into the deteriorating ditch, the wheat heads and the hands of the sitting Marine to communicate this evocative effect.
I hope everyone had a fun Fourth of July with kith and kin, burgers and buns, and plenty of fireworks. I saw where some folks in Santa Cruz, Kalifornia celebrated by burning American flags on the beach. Why? Just because they could. What could I possibly say that all of you haven't already thought about this yourselves? Nothing. I, like you can only shake my head. As I tell my daughter, democracy allows us to be as stupid as we want to be.
My gonzo documentarian friend Pat Dollard made it on to Fox's Hannity and Combes Wednesday night. He did a good job of holding his own, made some nice jabs a Michael Moore and looked strangely healthy.
Before the Storm (work in progress)
This is the painting I'm currently working on. Like the oil study for Storm and Stone this is oils on gessoed watercolor paper. Someone asked me recently why not paint on canvas? That's a fair question. First, preparing a sheet of watercolor paper for painting is quick and easy. Second, I like the way the brush feels and responds to the rigidity of this surface....you tend to get nice expressive brush work as the bristles interact with the hardness. With canvas the surface bows away from the pressure of the brush, which means the hairs tend to stay together and produce a more uniform stroke of pigment. With the gessoed watercolor paper affixed to the 3/4 inch plywood there's little or no give from the surface, so the hairs of the brush tend to splay out more readily producing surprising little nuances. Canvas also stretches under repeated assaults, and I've been known to over aggresively scrape out passages I'm not satisfied with resulting in a spongy and over-relaxed surface. You have the sensation of trying to run a marathon on a trampoline...not pleasant.
I've decided to put off starting the finished version of Storm and Stone until late July. I'm scheduled to attend the Basic Reserve Warrant Officer Course July 17th. The class only lasts two weeks, but they cram the entire 3 months of the Regular Warrant Officer Course into it. How can they do that? Easy, they give you a ton of professional reading to do prior to showing up. So between the reading and going to the gym to get my ancient keester in shape I realized that this was not the time to take on a major work. Instead I'm going to focus on a series of modest finished oil sketches.
In doing these sketches I'm also challenging myself to transition from "drawing" with oils to actually "painting" with them. What the heck does that mean? It means rather than laying down a highly developed drawing and then basically coloring it in, you only put down a cursory sketch and then going at it with large brushes laden with generous amounts of pigment. This forces you to conceive in terms of color and mass, rather than with line and value. Two adjustments I make, due to the normal extended drying time of oils, is to use a mixture of 50/50 light drying oil and copal medium, and alklyd white. This results in a much faster drying time, which means passages can be reworked sooner rather than later.
I don't think I'll ever be a true alla prima painter, but I want to move in that direction. A year ago I was privileged enough to meet and attend a lecture by America's alla prima master, Richard Schmid. The things this artist can do with big brushes is beyond amazing. Mr. Schmid shared an interesting personal anecdote with me, back in the early 1950s he took over the apartment that former WWII Marine combat artist Harry Jackson was sharing with Jackson Pollack.
The unfinished scene I'm sharing with you today is of a patrol base overlooking the village of Khogyani in the foothills of the Tora Bora Mountains near the Wazir Pass. We had just finished a long day of bouncing through the countryside doing a reconnaissance in force. Our main objective was to identify alternative avenues of approach for a future operation slated for the foothills of the Tora Boras on the Pakistani border.
The site selected to set up for the evening was a small terraced hillcock encircled by a chest high irrigation ditch; a perfect defensive position. Perched along this dry ditch lined with river rocks were clusters of mulberry trees. Marines spit up into twos, with one man taking watch while the other dug a fighting hole and set up their tent.
This particular evening was transcendently beautiful. Small groups of shepherd boys wandered out from the village with their flocks of goats and sheep. The air was peppered with the sound of their voices, the occassional thwack of homemade slingshots proding errant animals back into the fold, and the omnipresent hew-hawing of donkeys. The air was so still and sound carrying so far that the Marines could hold conversations easily with the listening post half a kilometer away on an adjoining hill.
As is always the case in the Middle-East, the melodic lilt of an evening prayer floated up from a mosque nestled somewhere amongst Khogyani's maze of mud daub homes and meandering walled streets. By nightfall the boys had drifted off and down in the darkening village doors and windows began to light up with gemlike warmth.
It was the calm before the storm. At about three in the morning a cyclonic thunderstorm rocked our world.