ANTILOG_05June26a

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ANTILOG_05June26a

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2026-06-04 10:16:38

(Note: The following was actually written on the 4th of July, 2026, and not the 5th, its day of publication)

- Before I get into today's antilog, I want to do a review of what is new since the last update, and to start it off, I am showing you my latest video presentation which I recorded yesterday after many days of deliberation; I called it "ENTER THE WORKSTREAM v1.0.0." and while I mostly talked about music and sound design and whatnot, I did mention that I had come up with a concept of "workstream"; While it is TRUE that I came up with the concept, it happens that this was really one of those "independent discoveries", as the concept had been written about online almost 20 years ago by Anne Zelenka; I did still have my own spin on the concept, which it turns out, after some more reviewing of "prior art", that there have been clear precendents in military technology, mainly in military aviation, and I will get into that in a minute, but here's the video:

- While I was researching things to make sure that I wasn't talking out of my ass and saying I invented something when really I didn't, as I was saying above, I ended up realizing that my concept of workstream was not my invention; as I pushed the research further, I realized that many of my concepts in my art practice actually have direct precedents in military technology; I explain in the form of a series of statements from my research into the "prior art":
- 3D/4D "terrain" has military applications that resemble my concepts of historiotopia and in general the topology of the workspace, of its continuously changing surface, what I often call the geology of the workspace and now want to call The Algebra of The Workspace or just Workspace Algebra for short; more on that later;
- In any case, the kind of research and work I've done on the surface of the workspace has precendents as I was saying in military applications where 3D/4D terrain is an actual thing in operations, in building the "Common Operational Picture" or "COP"; My very Historioteque concept, which is the name of my art studio / sound design + research laboratory, has a counterpart in military theory in the sense of my Historiotheque being a space with variable geometry, or it was designed that way in the beginning (the 3D/4D terrain has a similar kind of geometry); that is to say, it can be changed from an art studio into a recording studio, or any other application, is a dynamic and adaptable space, like that other terrain; I've even thought that it could be turned into an interior design laboratory where you could actually experiment with ergonomics ("human factors");
- It turns out, my whole Art Operations concept kind of has a military or defense quality to it, as well as other names that I've given my practice, such as Strategic Intermedia Arts, Info-Ops Art, Tactical Media, etc.; In military parlance, we might speak of tactical units maintaining "Distributed Situational Awareness" (DSA) without collapsing under cognitive load; This is precisely what I've been talking about for a while now, where I offload a lot of my work onto the surface of the actual workspace itself; I can get into more details later, but I refer to the surface of the workspace as a physical or material database; I just want to go over all this stuff now so that I'm not called a deceiver for saying I invented all these things, which I never really said in the first place, but it could easily be implied;
- I think it's important to know WHY things were designed or engineered, and the best way I've found for knowing this is to invent the design or technology singlehandedly and in an independent manner, the only problem being that it's not an original discovery; I can't count the number of times I've re-invented the computer!; "3D-Audio/Spatial Audio Communication Systems" => Direct counterpart in my theories of the mobile recording studio and also Field Art when I take Soundwalks and record the ambient sound, my work "in the field", my concept of an Art Operation itself in many ways, though I will have to get into more detail into how these concepts are related, and why even though most of my so-called "inventions" were already being worked on for decades by militaries around the world, there's still a purpose for me to continue doing my interdisciplinary art and research; it's not about being the sole inventor of anything, let me tell you right now!;
- It used to be that "a pilot or field commander had 4 or 5 radio channels coming in simultaneously (e.g., localized squad, broad command, intelligence feeds, telemetry warnings)", that "the audio was mixed into a single, flattened monaural stream and that this caused immediate cognitive collapse"; apparently humans cannot naturally decode multiple voices speaking over each other in a single flat layer; I talked about this with the workstream-to-workstream interface or communication between workspaces and the dimensionality problem of going from a 3D/4D environment and passing it through a 1D or maybe 2D communication channel, how you risk losing that dimensionality, and also the 1D is a bottleneck;
- Systems that "position audio feeds in a virtual 3D space around the operator's head based on the physical direction or organizational layer of the source"; OPERATIONAL CONCEPT: Acoustic separation; in Slack or Zoom they mute a parallel stream when someone else speaks, but "tactical spatial audio intentionally preserves the room dynamics and places node A at 9 o'clock, node B at 2 o'clock and telemetry warnings at 12 o'clock high"; It retains its "spatial environmental signature" => We can speak of a "modern mobile tactical workspace", which also sounds a lot like some of the things I've been saying in my workspace theory of late;

"SEE NO EVIL, HEAR NO EVIL, SPEAK NO EVIL".

Acrylic painting by A.G. (c) 2026. All Rights Reserved.

- In essence, I may have to scrap my entire life's work because it's all already been invented; the only claim to fame I have is that to my knowledge these operational concepts have never been directly applied to an interdisciplinary art-research practice; but we still have to see and make sure that's not also going to be completely debunked; I spoke of the "Common Operational Picture", a "unified, shared operating picture"; I have to acknowledge all of these engineering precedents; but, once again, my Art Operation and Historiotheque concepts are still valid; you can think of it as a "decentralized operating system for creative expression and humanistic research";
- "Fluid, adaptive interface envelope" => I've been writing and talking about envelopes in the workspace for at least the last month; you could call it The Elastic Workspace ("dynamic screen, real estate & horizon planes"); "in modern tactical centers and advanced cockpits, the interface is treated as a continuous, deformable plane rather than a set of rigid windows"; again, similar to how I have conceptualized my Historiotheque, as continuous, deformable plane, or what I called the continuously changing surface of the workspace; My 3D workspace where the surface transforms across time "mirrors tactical methodologies designed to capture, relay, and reconstruct operational history"; "four-dimensional operational picture (4D-COP)";
- A 4D-COP "doesn't just show where things are NOW; it visually trails where they WERE and project predictive vectors of where they WILL BE; treating the interface as a living history"; SEE: my creation of historionautics as well as historiotronics goes in the same general direction, though I will have to make the case officially, sooner than later, and probably in a second ENTER THE WORKSTREAM video; "tracking the workspace surface across time, documenting the evolution of a research canvas or canvas patina as a continuous historical progression; use mission playback data to reconstruct the exact state of every screen, audio feed, and sensor vector at any given millisecond of the mission";
- The workspace is treated as a deterministic system-with-history, or what I call a systemenon, that can be wound backward or forward to analyze failures or breakthroughs; "spatial-situational concepts"; historiotopia & the ambient field; "operator standing in a physical room while their functional workspace surface is structurally overlaid with the "ghost topography" of another time and space";
- Synthetic Common Operating Environment (SCOE) => "seamlessly superimpose a highly detailed, historically and geographically accurate virtual terrain over the operator's immediate physical environment"; "the local space is effectively rewritten, allowing the operator to act locally while interacting with a completely different, simulated spatial reality"; "the environment treated by a sensing fabric"; "cognitive & network topologies, the shared noosphere; autonomous art operations can co-create systemic harmony simply by maintaining a persistent, ambient connection to each other's live signal";
- Network-Centric Operational Resonance; "In Network-Centric Warfare (NCW) doctrine, the goal is not to have a control commander dictate actions, but to achieve self-synchronization" => "by providing every decentralized node with a continuous, unfiltered stream of the shared operational picture, individual units organically align their behaviors"; "they achieve a state of cognitive resonance purely through shared environmental awareness".

ANTILOG_03June26a

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ANTILOG_03June26a

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2026-06-03 16:25:36

- Stuff I did, in rough note form, since my last antilog (for preserving continuity): I was rethinking this morning about the concept I came up with yesterday of workstream + worldstream (*Edit: a concept which after research on "prior art" I realized already existed. More on this later, but check out Anne Zelenka if you want to know and also there are direct precedents for much of my theory in military technology, more on that later as well) => also I realized that my Art-Ops-in-a-box is in an actual box, a witness-box => I rehashed an old concept of a mobile recording studio, the Design Web Labs => was thinking that there are different kinds of refcards, actual bibliographic references, action syntax cards, moraltempcards, etc. =>
- I worked on a Global Research Schema + an ALX extensible schema v.1.0 => I did the Harlequin painting + Harlequin organ music that I recorded at dad's =>
- New concepts of mobilome, habitome, survivome, and interferome following the concepts of migrance, habitance, survivance, and interference => I created an antilog publication on Substack => thought more about methodologies of art and research practice => Thought long and hard about being transparent, accountable, being/working "in the light" => so many artists work and continue to work in obscurity => My applied Feldenkrais, the "texture" of movement, of experience + the rhythms of the workspace + of the old village =>

"HARLEQUIN". Mixed media by A.G. (c) 2026. All Rights Reserved.

- When I woke up this morning, I finished work I couldn't finish yesterday => yesterday was a bad day, it started out wrong, did not go according to plan => don't make major decisions when the workday takes a different turn, diverges suddenly and widely => new concept of the historiospheric worldstream => what I do is mainly internal arts + complex work streams + workspace to mirror complex systemena => working on concept of a "New Discourse on Methods => the systemenon is a system-as-phenomenon in the lab; there is the system in the field and the system in the lab, when we act upon it and make changes and experiment, it is a systemenon =>
- I need to reach "saturation point" from oscillating work sprints & continuous review to create creative tension and resonance, saturation => thought of film as documentary evidence, cinema-as-documentary-method, as documentation => the Exhibition in Tonal Cinema was lifestreaming before it was popular => "workspace (function) collapse" => hitting the reset button =>
- The experimental novel => focusing on the inward "pulse", rhythms of life => did comprehensive retrospective of May, 2026 output => I will do a prospective next for the coming seasons => beware too much standardization and systematic abstract formalization => art + research "heat death" where nothing means anything anymore, you need differentiation or "differentiability" =>
- Inject energy and noise to break collaborative equilibrium or stagnation in the workspace => let it decay and atrophy, it's okay, it is just a "slowing down" => 1. strategic action; 2. delta observation; 3. methodological review; 4. systematic reflection => I have essentially been making a series of "technique-paintings" without realizing it; I think I will make some of these more deliberately;
- The following was from around 10h00 this morning, something I didn't get to publishing until now: I transcribed the refcards that I just took at the main desk onto computer terminal no. 2 and then will print out the pages on computer terminal no. 1 after which point I will take the printed materials to the main desk to read, highlight, and potentially write more refcards => these refcards I made by reviewing all the work I did since my last "antilog" entry on my antilog blog, all with the intention of putting this in a new antilog entry where I want to include actual artistic artifacts I have made since the last antilog entry: I want to talk more and more about rhythms in the old village and in the workspace and also I want to make a video presentation of all of this.
- Here is the composition for organ I recorded called "Harlequin", recorded yesterday, June 2nd, 2026:

- The following is another recording I made, today June 3rd, 2026, called "Petit lapin dans l'herbe" ("Small rabbit in the grass"), based on actual experiences of seeing wild hares in the cemetery every morning when I go on my morning constitutional at dawn:

- And finally, this is the morning constitutional from yesterday, June 2nd, 2026 (I guess I didn't make any antilogs yesterday on the 2nd):

- Actually, one last one, a video also from yesterday, the 2nd of June, 2026, on the "music in the old village" as part of the theoretical background for my "Symphony of The Old Village" project ("Symphonie du Vieux Village"):

ANTILOG_01June26a

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ANTILOG_01June26a

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2026-06-01 08:33:35

- I woke up and started continuing my research on Cubism (at computer terminal no. 2); I looked up some sources on some of the things Gemini had told me, which seemed like historical facts, but needed to be corroborated with actual source material backing up the statements; Generative AI is notorious for sounding very confident in the truth of its statements, it's easy to be fooled by things that might not be true; they need to be fact-checked/verified;
- Then I printed out some materials from this line of research on computer terminal no. 1, then went to the main desk to read it, highlight it, and copy out some ideas and some citations from the printed materials, which were mainly citations that I was able to get out of the AI in the end; Now I am back at computer terminal no. 2 where I created some more pages to print out on the other computer terminal, to then take out and read, highlight, and reflect upon at the main desk; I do this for hours; I find it leads to the greatest number and depth of insights and discoveries;
- Here is some of what I've been working on with my recent research into the close collaboration between Braque and Picasso in the Cubist period;

"CUBIST TABLE". Cubist étude by A.G. (c) 2026. All Rights Reserved.

2026-06-01 09:11:50

- I just finished reading some important citations for my current research on the Picasso-Braque collaboration of early Cubism, content which I printed on computer terminal no. 1 and read at the main desk;
- Now I am at computer terminal no. 2 doing more research and writing this antilog, and next I'm going to go back to the main desk and possibly summarize and synthesize the day's work thus far onto some Refcards which I may use to record another video presentation of my Discourse on Cubism;
- I also have to go run a few errands, even though I'm still feeling a little under the weather from a recent virus I contracted; I may stop at my father's house to record some music he needs for a film he's making, and also perhaps some new compositions for my Seasons of The Heart Project; I may have to change the name of this project as "seasons of the heart" has already been used; sohas "seasons of the soul", which might work, but which sounds bizarre to me; I prefer "seasons of the heart"; I may just have to explain in my "liner notes" that this concept is a concept that has been around for ages, that has been rehashed and reinvented a thousand times; I work on it as part of my daily practice of musical composition, etc., etc.;
- Also, before I go, I was researching Benjamin's work on the concept of flâneur in Baudelaire and realized how important sound is for me when I'm going on my daily walks; It's not only the sound that I'm hypersensitive to, it's also the vestibular function or whatever it's called in the inner ear which has to do with balance and orientation in space; I am also hyperaware of this and am easily perturbed in my "internal/inward space" by sounds or by people walking by; it's not that I am perturbed by noise in itself, it's mostly the intentionality that goes with people who are largely unaware of themselves and especially unaware of the sound-space that they inhabit and contribute to.

2026-06-01 15:51:09

- So I eventually left the studio and went for a walk to my father's to do some recording for him, some music and other audio work; when I came back, I went over what I had printed earlier and highlighted and I wrote some Refcards on the subject, then went to computer terminal no. 1 to watch some videos on the Picasso-Braque collaboration; I will take the Refcards I just wrote and transcribe them onto computer terminal no. 2, or that is what I am thinking of doing right now; then I will do more research and print out more content to slowly metabolize or digest at the main desk; my goal today, or one of them, was to make a new video and though I still want to do that, the day is somewhat advanced and I don't know if I'll be able to reach the necessary level of "saturation" if you will, of information saturation, to be able to make a video in an "ad lib" style, which is the only kind of video I'm really able to make, or the ones I like to make most of the time;

- So I spent the last few days thinking deep and hard about Cubism and specifically the Picasso-Braque collaboration as part of my advanced Cubism studies; I want to make a video about it but it's been hard to get all my sources and references, citations, right; they are quite a mess at the moment; most of what I have is highly speculative and that generally doesn't make good academic research; but it's made from the perspective or point of view of an artist also, so that makes speculation useful if it advances knowledge, or at least can influence people's ways of seeing, the mechanics or the "machine of seeing", which is what Cubism as a system was, a "machine for seeing"; In any case I think that people will still want to hear my abstract speculations about it, and I might just make another video at the chalkboard to show myself working through the same kinds of "aesthetic problems" if you will, that Picasso and Braque were obsessed with solving; I believe they called them puzzles, visual and spatial puzzles, or something of the sort.

2026-06-01 18:29:18

- I summarized the day's research onto 7 unique refcards (at the main desk) and transcribed them onto computer terminal no. 2; as I made these refcards, I was referring back to the citations and reference works/source materials that I had identified and read during the day's and the past few days's research on the Picasso-Braque collaboration and other related matters;

- I've also written a lot about and thought a lot about my experimental design workflow management methodologies; I think methodology matters in an interdisciplinary art-research practice; anyway this is a distributed polytextual mode of research and analysis; I worked a lot today with schemas, faceted taxonomies to code/classify/organize my art and research; I also created a comprehensive faceted classification schema for my ALX workflow management methodology; I will begin tagging my content as I write it, especially the refcards; it was a schema for the Refcards-System/Refcards-Project basically;

- Since the last antilog update, that's it, I wrote those 7 refcards, I transcribed them onto computer terminal no. 2, then came back to write this antilog; there were other things, but I can't remember right now; I wrote a separate set of index cards, I think, just on the Picasso-Braque collaboration stuff, making sure I got my sources right; that's why I cam to computer terminal no. 2 was so I could transcribe the refcards out via typing on a keyboard so that it kind of works different muscle memory; they are different media, different modes, plus also it's the task-switching algorithm at work; my goal today, after all, or one of them, was try to make my current Cubism research more authoritative, less speculative; I identified the two main reference works I want to use for my video on this subject, if I ever get around to make it today, otherwise maybe tomorrow, and some other video presentations I want to make; those two books are "Life with Picasso" by Françoise Gilot and "Picasso and Braque: Pioneering Cubism" by William Rubin;

- Anyway there are many projects I've been working on lately; I feel really good about my practice, I just need to use my documentary_method.py Python script to write some labnotes for today;

- As I continuously do in my practice, I am now reading over my previous antilog entries to see what labnotes I had written the last few times I came to write here; Here is what I wrote just now as a new labnote:

2026-06-01 20:20:41

- I ended up choosing not to make a new video presentation for now; instead, I did an audio recording I call an "EVENING CONSTITUTIONAL"; it's hard to do all the logging and documenting I wish I would make; it's tough; anyway here is the video I made with the audio notes:

ANTILOG_31May26a

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ANTILOG_31May26a

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2026-05-31 04:25:41

- Yesterday, I recorded two videos, one where I stood at the chalkboard where I was in what I called "full-on analog research mode", actually thinking through problems, and another video where I went over some Refcards that I had written after spending time reviewing the first video;
- There is always a review process; I started the day by doing research online on what I am calling computer terminal no. 1, selections of which I printed out and took to the main desk; I read through it, highlighting passages and taking notes in a notebook; then I think I made the first video, which I then uploaded onto computer terminal no. 1; I watched it, then I believe I printed some more notes which I then once again took to the main desk;
- I read those, highlighted them, and then took some notes on some Refcards which I used to record the second video; In that video, I basically just read from 10 unique Refcards; I then uploaded it to computer terminal no. 1, then watched it; then I went back to the main desk, I believe;
- You can see a pattern; I always work in the workspace and then review; it is essentially a process of continuous review or what can be called reflective practice;
- Here are some notes that I took much further into yesterday's workday:

[20h16]

- I just switched from my previous workstations to computer terminal no. 2, the Ubuntu machine. Earlier, I recorded a video extempore/impromptu and then reviewed it, listened to it, then took Refcards (references/citations on index cards). Then I brought those out and took notes in my primary notebook. Then I took the Refcards to this station now where I am writing these labnotes;
- This is the modular, interdisciplinary practice. It is multimodal, multivalent, multifarious. It is emergent, rigorous and comprehensive.
- First of all, early this morning upon waking, I printed some writings about Benjamin's methodology of using index cards or "card files" as they are often called. He is said to have used thousands to write his Arcades-Project. I printed other related materials from early morning research and then brough it to my main desk to read, highlight, and cite in my notebook, which then became Refcards after I recorded the video.
- TO RECAP: I woke up, went to computer terminal no. 1, did research, printed it out, etc., just as I said, after which I read and took notes on, then recorded the video, then watched it at computer terminal no. 1, took more notes, printed out more research, then took that outside, read and had a coffee and took notes. I recorded a second video, then went to watch it at computer terminal no. 1. Then I went back to the main desk, took notes, then I took a walk (I had taken a few throughout the day), then I started reading a book on archives and came to computer terminal no. 2 to write out the following notes, from my Refcards and notebook from before.

[21h58]

- I went back to the main desk and read some more from the book I started reading on archives, then went outside for a smoke, then came to computer terminal no. 1 to copy the hyperlinks to the two videos I made, posted in on Google Keep, then went to computer terminal no. 2 and took the link to the second video and posted it on X, on Threads, and on Bluesky (I had already posted the first video on those networks a few hours back, on computer terminal no. 1. So I am constantly sending myself notes or else copying it out by hand on index cards and in a notebook, and also copying things from videos and other media onto each of the computers, when I do research and whatnot, and usually I print those out on computer terminal no. 1 after which point I go back to the main desk to start the process of continuous review again. In a sense, it is an adversarial review, not in a bad way, it's just that I critique my own thoughts. I call it antisynthesis;
- Then I'm going to turn all this documentation into a post on antilog, a log of changes made, which will end up as Important Updates to both the latest Official Release and the latest Official Declaration of Production-Year, which is currently at Production-Year 2028-2029.

- Before bed, I started doing some research on Cubism, specifically on Picasso and Braque's close collaboration especially during the early years of what some call analytical Cubism; The first stretch of research that led to me making those two videos had to do with Walter Benjamin writing on the subject of what he called three-dimensional writing; here is the link to the first video:

 - I talked about many subjects in this video which was 12 minutes and 41 seconds; I don't feel the need to list all of the subjects I touched upon; The important part was the review process for yesterday's work during the workday; Here is the second video I made, using the Refcards from reviewing the first video and taking note:

- And here, to finish this post on my antilog log, are some labnotes that I just made using my  own documentation_method.py Python script made especially for taking labnotes:

- More on all of this later; I just wanted to make a formal post on my antilog of the progress made yesterday throughout the workday; obviously, there are things that weren't documented or archived, as it is impossible as we know, to capture everything; one must make judicious choices as to what to document and archives; I'm glad, though, as I have been extremely productive; I have made a dozen or more videos in recent weeks plus I've done a lot of documenting; Essentially, I'm trying to incorporate more and more redundancy in the practice, as through this continuous review process that is all too clear, I recognize, in the great redundancy of the beginning of this post, where I meticulously went over my movemements from workstation-to-workstation, medium-to-medium, project-to-project, task-to-task, etc., as I continue to integrate my 15 years of Feldenkrais practice into my daily interdisciplinary art-research practice; Thanks for listening!

ANTILOG_16May26a

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ANTILOG_16May26a

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2026-05-16 01:47:52

- I was working recently to figure out exactly what my reading and research method was like and came across the idea of a kind of NONLINEAR, DISTRIBUTED POLYTEXTUAL methodology;

- For instance, yesterday I was sitting at the kitchen table, reading from books as well as notes that I had printed earlier in the day and the week as well; I was copying out or transcribing passages from the text - in a notebook on the table - and then writing down the salient points and keywords, etc., onto index cards;

- Then I took the index cards, what I call Refcards, and brought them to one of my two computer workstations, after which point I copied notes I had also taken at that table, but on a note-taking app on the way, I took those notes and copied them into a text file which I then backed up on the cloud; I printed out some more materials, then took those back to the kitchen table, and starting the process all over again;

- In my readings in this context, I was reading maybe between 4-5 books at a time, plus another 3-4 documents that I had previously printed out earlier in the day and week; I kept iterating like this for what seemed like hours;

- THIS OF NOTE: "Instead of burning out one pathway, I create a rhythmic wave where one faculty rests and regenerates while another fires. This keeps my brain in a state of high-amplitude creative tension, preventing the flatlining or mental fatigue common in mono-disciplinary work."

***

2026-05-16 02:43:07

- Part of my polytextual method is my way of working at the computer stations, of which there are two in my workspace, and which are switched to in an oscillatory pattern throughout the WORKDAY;

- Researching on the web: I open up a web resource / asset and copy highlights from the text into a .txt file on my computer, also copying and pasting certain more salient passages into the Google Keep app on my computer; then I do searches on Google Search + I prompt Gemini; I reiterate the process;

- This nonlinear, zigzagging path is my natural mode of being when working on my art production or else doing my research; I find that switching from app-to-app, from tab-to-tab, copying and pasting highlights in various places, then oftentimes transcribing video content by hand, this, I find, maximizes the creativity that I have access to, that is, it PROMPTS ME and helps me access a deeper, more creative and therefore consequently more productive state of being;

- I will then either go to my other computer workstation or else return to the kitchen table to continue my work, alternating from medium-to-medium and from discipline-to-discipline, continuing in my essentially distributed, nonlinear manner;

- I also interrupt myself in the middle of a process, like while I'm copying and pasting something from one web resource/asset, instead of going straight back to that web page, I take a different path and either search for something else, or else visit an other page otherwise, or else I also open up a different document on my desktop; Essentially, I am going from resource-to-resource (asset-to-asset), from document-to-document, from window-to-window; I am tentatively calling this READING-WITHOUT-READING because I'm not reading in a traditional manner, but in a nonlinear one; I also copy what I call TabSets which are a list of the tabs I currently have open in my browser ("OpenTabs"), which I then copy onto a .txt file on my computer as well as on the web as a GitHub Gist; this back-and-forth creates a distinct rhythm which again helps me access this much deeper, greater level of creativity;

- That's it for now; as always, I reserve the right to come back to this at any time and add a new entry into the ledger.

ANTILOG_13May26a

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ANTILOG_13May26a

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2026-05-13 22:10:30

* I have been working very hard on a lot of different things;

* I have been working on the systematic abstract formalization of all my systems, adding redundancy, sometimes purposely deleting content in the archives that either contain errors that aren't useful or signals that didn't degrade gracefully;

* When I find good content in the archives, though, I like to put it in display, which is part of my ongoing interdisciplinary art-research project, The Archives-Project;

* Here is something from over a decade ago which caught my eye and deserves to be mentioned here. I quote:

02:04 2015-09-14

* The "ArtOps" circles represent what I call "Art Operations" in a system I am developing (I'm only developing the theory for now). Basically, they represent "art practises", except that in this model, they are modelled as DAOs or "distributed autonomous organizations".

* The "broker_ops" are also DAOs, a.k.a. "Broker Operations". And it's the same for the "Art Exchange" which is just a kind of "Art Market", modelled as a kind of "Financial Exchange" if you will, also a DAO.

* Basically, you can just imagine each circle as an "automaton" or "finite state machine" or "abstract machine", if you want. The "ArtOps" machines need the "broker_ops" machines to interact with the "Exchange" machine.

* Many ArtOps interact with many brokers who interact with a single Art Exchange, at least that's as far as I've gotten for now.

* It's mostly a system I am modelling for a series of novels I'm writing. It's something that characters in the novel will be building, these interconnected systems of Distributed Autonomous Organizations.

* This is relevant because I'm really working hard, working overtime, double-time, to formalize my practice as i said earlier;

* This is what this is all supposed to lead to, in all earnestness and truth;

* The Art-Ops-in-a--Box Concept; I have been working diligently on this and with great work ethic for at least over a decade; the image is something that I truly believe will become possible, and remember, this was all designed long before the types of LLMs that people are using today, and agentic AI or AI agents, the kind that can be orchestrated or that will orchestrate and coordinate themselves, among each other;

* I said in the text that I cited above from September, 2015, that I was only "I'm only developing the theory for now." I have now actually been building out the scaffolding for the system, which has many moving parts, many "subprojects", large-scale complex conceptual schemes, a boat-load of techniques, technologies, and processes/practices that I collectively often refer to as the ALX-system; 

* I started a project probably last year or maybe a little farther back called "Noise in The Workspace"; I made some first experiments in the First Series and published them online; I have been continuously documenting everything on my computer, in the cloud, and on web assets/resources;

* I have had my own website for the longest time now (alexgagnon.com), and again at some point in the last few years, I purchased another domain name, historiotheque.ca, which had content about my art studio, called, as many of you know, the Historiotheque;

* I also realize I have been using machine intelligence for the longest time now; in any case, I've been documenting all my processes and practices, realizing that my practice is a nonlinear practice; I have been investigating what all of this means;

* I have been doing countless experiments with Generative AI; I find I have had much success with my experimental method of interacting with Large Language Models, as a contemporary, interdisciplinary artist-researcher;

* To go back to the ArtOps, iit really is an abstract machine, possibly even something more advanced, now that I have taken a step back and am observing it; everything is sytematized in my practice, and nonlinear; I run on a tight schedule, which essentially is a simple job scheduling algorithm, with one machine and one worker, through and in a WORKSPACE;

* I used a randomized dynamic task assignment algorithm, done manually, operated manually, like most of my art-research practice; anyway I've been busy logging and documenting as I have already said;

* THE TAKEAWAY: The Art Operation ("ArtOps") and broker_ops ("Broker Operations"), the Art Exchange ("Art Exchange Ops"), the whole thing being an ART OPERATIONS ECOSYSTEM;

* The system is pretty simple for modern agentic AI / AI agents frameworks; just a simple coordination problem with n number of each Op-type;

* Lastly, the Art Operations@Historiotheque, a name I gave it at least as far back as 2015, is really a mature art-research practice, and the space has lived up to its name; I talk about the randomized task assignment + scheduling task whose nonlinearity, I think, allows me to be much more productive than i would otherwise be; I have been publishing what I call Official Releases of Semantic Version X.Y.Z. of The Historiotheque, the Historiotheque in this case being treated as a unique kind of software I call "Cultural Software"); My Release cycle launches and shuts down and relaunches in a rapid cycle, with sequenes exhibiting a lot of bursty behavior with high-creativity, high-productivity, and then at other times I have more fallow periods, where I am somewhat less prolific, and are like my downtime with the Art Operation "shut down until further notice"; I also call the art I do "Field Art", and probably should write a manifesto about it; I should probably publish a manifesto compiling all of my techniques, technologies, methods/methodologies, processes, and practices;

ANTILOG_06May26a

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ANTILOG_06May26a

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2026-05-06 22:36:36

* I just used my old “documentary_method.py” Python script that I created back in 2014 to document my experiments in painting and in other domains.

* Here is an instance of what came to be called “labnotes” that pertained precisely to this practice.

* In essence, this was the first iteration of what I now call “The New Documentation” (with the studio/laboratory treated as “cultural software” based on principles of continuous delivery and other related fields/practices).

* Here is another instance of the labnote format. I am having problems with the interface to this blogging platform, so I will return to this at a later date. Stay tuned...

All the projects are the same anyway. Some notes from earlier, in another format, but still the same underlying documentary method:

- I just was oscillating for one of my "15-minute workdays" or "work sessions" from two separate Gemini tabs, one tab for sending an email to myself, but I worked on the two Gemini tabs in conjunction with a document I was creating of the chat I had just had with the AI;

- Then I was also trying to find a reference in my archives of the concept of "delta-workspace" and "historiotopia" originally from a GitHub repository readme.md file, but which I was searching trying to find in another instance where I had posted the same content but in a Medium article;

- I keep switching from thing to thing, "tab-to-tab", "tab-to-editor", it's the translations and transitions from one to the other;

- I was also in the process of planning to send an email to myself with copies of documents I had been working on one of my computers, the Ubuntu machine;

- Then I'm already planning retrieving the documents in my email on my Windows laptop, after which I was going to print out a dozen pages on that computer;

- Then I was planning on going to read the documents at the kitchen table;

- Except I'm following a random, nonlinear trajectory/path through the workspace;

- I go from workspace to workspace, from device to device, media to media, always in "transition / interval / contact";

- There was more to it but that's it for now, this has been a data log, a snapshot of the workspace as it was in the previous hour or so.

- In conclusion, here is something also from that period around 2014, which I had already added in a previous iteration of this post, but which somehow was irretrievably lost.
- I wanted to include it to show how I have been thinking and working with surfaces, flat surfaces in this case, in my painting practice.
- It means that I have been working on my delta-workspace theory and documentation method for over a decade. Now it is the study of workflow management methodologies in their own right, as part of what I not call "The New Documentation". I will be posting on here more often, about the "nonlinear practice" of "nonlinear practices and methodologies of hyperreflexive design science". more soon...