A10 Model WIP, Camouflage, and More Word-Nerdery


My “meditation” for today was on surface textures, and camouflage.


I’ve been working on this A10 kit for awhile with my little one, Markus, who helped me all through the construction and priming.  Obviously I’m not much of a model builder!  This is my first time weathering an airplane kit, and my first 3 tone camo scheme and I made some rookie mistakes.  The Gundam panel line marker I used behaved a lot more like permanent ink than I expected, and also turned decidedly red under alcohol swabbing.  Also, I forgot to gloss and apply decals, so this will have to be a rogue squadron A10 or something.


One of the reasons I keep throwing myself at model kits, aside from my love of aircraft and gundam-giant-robo stuff, is that it forces me to think with my hands and render/model things in the real world.  I always have a surge in my poetry afterwards, and I think that has to do with the loving study of a subject, and faithful replication of the world and its processes.


Camouflage, which really breaks down to the disruption of expected contour and color is something I learned in basic training.  Interestingly enough, generally speaking, camouflage doesn’t work on the color-blind.  Check out how “present” the black and white photo of the A10 is.  I wonder if, in some sense, the written word, or musings on light, sometimes behaves like color blindness.  I think about how there is no way to really “lose” an object with language, because object asserts itself even at the level of phoneme and sound event.  The transposition of raw sound with visual object is something I will write about later.


When I think about the disruption of expected contour I think about how words break out of each other, when they sound similar, but are in fact, disparate, such as Hare and Hair.  That language continually folds, or nests meaning is interesting in this way too.  In camouflage we often invert bright and dark planes with each other, to turn depth perception inside out.  Imagine your cheek line, instead of being a bright outline, becomes dark, as if it was enveloped in shadow.  The normal color palette of flesh tones is supplanted by the vegetative and earthen.  In extreme cases, such as razzle dazzle, we seek to absolutely break the eye’s ability to discern depth.



Many of my favorite poems have this sort of effect on the reader, a sort of raw disorientation between the expectations of object and the object itself.  I want an image to break off the page and become possibly dangerous.  This heightened sense of presence is more intense because it cannot be instantaneously grasped and measured.  This sort of image not only provokes, but it continues to resist.


I really enjoy the image of the ship shown above.  The way the vertigo inducing stripes in some way mirror the movement of the water, the way the ship is clearly a different sort of entity when compared to the other vessels, The crazy but oddly practical way in which knowledge was used to find better ways to survive.  I sense some new ekphrasis on the horizon.  More Later.

Go Forth, and Provoke.


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