Peter Beagle is an American writer whose book “The Last Unicorn” presents a stripped-down classic fairytale…I say, after reading a chapter of it. The man who introduces the book speaks of his English Lit masters degree, of how he discussed and wrote about books without reading them. So too am I doing in judging this book by its cover, “Pleasant or unpleasant as the case may be.” (Aunt Augusta) Hers is an august presence, and as gusty as the Royal Academy that I write to KF about in my abortive (though hopefully not so) open letter. As first attempts go, it’s…short. I hope my pending letter to CS doesn’t abort similarly. Nor to KD, nor others, I suppose. — I want to talk about expressive languages, but for CP I fear I will have to prolegomenize. Such might be uncalled for, as she may know anime. But for my audience I’m going to have to make a centrality claim. Unpleasant. Mai Yoneyama looms large though soft-spoken, as the type Archipel seems to favor in their slick documentaries. (A kid’s howling and buntering cheerily behind the café door.) Her drawings “read” in a way that realism oughtn’t in its purest form, so it’s a good thing she doesn’t do realism. She was an in-betweener and then a key animator, a color planner, a painter exhibiting in the gallery. | Let’s see about that 24 Mar exhibit at the tattoo parlor. | I see that animators in a studio work very hard indeed, and that there is a strong demand for their quick production. What is the dynamic between
given that design favors creative artifice and realism prizes faithful journalism? Is this the key difference, or is there a hole in there somewhere? よねやま まい did the work for Toho’s “Colors” MV which was suggestive to me. — A brief bit of overhead: from “CP” onward, I began suggesting to myself the idea to publish this as the first in a stream-of-consciousness series, like the proposed open-letter series. (Proposed, anyway, to my beta-reader.) — I’ll need to finish that unit plan today. AP will be pleased, I hope. At the least, he’ll be done chasing it down from me. How must it feel for a Dom Fera or a Bygones to find their patronage on a virtual network? Or, truly, are the more concrete patronage models of the 18th century atelier being supplanted by augmented reality? Kickstarter backers aren’t shut-ins, after all. — What does it add up to, when I think of the practical solution to a problem like paint-grinding to reverse the parking spot diagonals outside the café, where a contractor would think of the labor economy and the administrator would only equate it to currency? This issue of value lost in any monetary exchange has legs in the arts economy, but I don’t know if fleshing it out in terms of macroeconomics is the right or only way. Generalisation is limited here.