There are, broadly speaking, two models of artistic creation. One focuses on the end result as a "well-made thing," the product of craft, tradition, and a working within a well-established genre.
The other focuses more intently on the process whereby art comes to be made, insisting that its work not transcend time, but rather that it be, in some sense, the result of some creative action: a performance in time.
These two models are not mutually exclusive, but most works of contemporary art and writing align themselves more closely with one model than the other.
The premise of a poet's notebook or "daybook," while surely a convention (think of Robert Creeley's 1972 "A Day Book"), by its very aestheticization in the fragmentary, quotidian details of undistilled experience, identifies itself most immediately with the process-oriented model of recording observations in time.
David Hadbawnik's "Field Work: Notes, Songs, Poems 1997-2010," published this past summer by Buffalo-based BlazeVox Books is a chronological arrangement of discrete entries in what presents itself initally as a poet's notebook or journal (as if "raw material" for a more refined text). But in the course of its accretion, the book acquires its own conceptual integrity and mass, raising profound questions about textuality, the language of public versus private observation, and the fundamental nature of perceptual experience itself.
Hadbawnik, a poet-scholar, editor and publisher of Habenicht Press and the journal kadar koli is the founder and director of the Buffalo Poets Theater. His previous publications include the books "Translations From Creeley" (Sardines, 2008), "Ovid in Exile" (Interbirth, 2007), and "SF Spleen" (Skanky Possum, 2006). He will read from "Field Work" and other newer poems tonight at Dog Ears Books, 688 Abbott Road in Buffalo. Joining him will be poet and teaching artist Robin Brox, whose most recent book is "Sure Thing" (2011), also published by BlazeVox Books.