When friend Troy Skeels visited my Oakland flat for a visit he told some of the stories he had written for the daily paper he edited in Seattle for the protesters during the W.T.O. shortly before the terrorist attacks on New York provided the government with the tools needed to suppress internal dissent by intimidation, compartmentation and denial. Troy had returned for the millennial celebration from Oaxaca, a place of moral and political refuge he has since married into, 'Ole! In his satchel was an excellent bottle of a rare tequila bottled in a cave by mad monks who spoke only lizard. He had apparently promised his first-born hermaphrodite child in exchange for the right to leave Mexico this magical elixir. While we drank more than we should have and sat watching the lights over Oakland from high above the rails near Fruitvale, Troy spoke of a method developed by the many different groups with widely differing aims and opinions which made up the unexpectedly powerful resistance movement to handle governance and decision-making in a decentralized yet highly inter-connected way. As members of resistance groups tend to come to demonstrations in a group, these groups would form single file in order of hierarchy (if one existed,) with leaders gathering together such that the lines of members radiate out as spokes in a wheel, or ribbons on a maypole. This circular structure of largely anarchist individuals would then proceed to expertly discuss and determine strategies and tactics by speaking only to the individuals around them. So effective and unexpected were the results of these "convergence" summits that the authorities quickly began moving against the organizer's abilities to acquire sufficiently large spaces for effective convergence. This and the easy penetration of such voluntary organizations by disguised authorities bent on disrupting protest rather quickly killed that particular American resistance movement. After Troy left I had an interaction with Naoko Haruta, my downstairs neighbor at the time and a noted Bay Area action drip painter which left me primed to create this painting. With my large square canvas prepped with a white ground I began pouring pools of oil paint liquified with Alkyd mediums, whirling and bouncing the canvas to spread the pigment relatively evenly. After this explosion of colors dried I placed the painting on my easel and finished in my customary approach with brushes, solving structural issues with simplicity. This painting hangs any which way, but I like the diamond spearhead hang from the Blue Cube show in San Francisco best, it was just high enough to look dangerous. This was the most popular of my works among the crowd at the Burning Man finale in Emeryville where we all played with fire.