ANTILOG_07June26a

[WORK_RECORD] - The Refcards-Project. Sunday, May 31, 2026 / 11h34.

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ANTILOG_07June26a

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2026-06-07 05:37:13

- After I left off in yesterday's antilog, I maintained the same oscillatory pattern and rhythm as usual in the workspace; I took tons of important notes on Refcards, printed research + my own previous antilogs to situate/orient myself in my workday and catch any errors in the text itself; I went for a second walk, not a long one; later on, I met with my main collaborator K. for a video call of just over an hour, recorded a new video presentation, read a little, and went to bed;
- I was worried at one point yesterday that I was unable to finish the day's work within the confines of the workday, but found that in the end I was able, though sometimes I come close to getting behind in my work; losing track of my "position", if you will, within the laboratory, is something I try to avoid, my orientation, but really, truth be told, I lose my bearings constantly; the thing is, I immediately find myself again in a powerful, sudden realization; the workspace was designed for this, to always find the thread when I am lost; it all comes back down to the configuration of the workspace and the exposed surface; plus, the archives were designed with findability in mind; I call it The Art of The Found;
- I also recorded several audio notes while outdoors "in the field" yesterday and some videos I ́posted on Instagram and threads; about finding myself again in the workspace, the workspace is also designed for serendipitous discovery; it's the main reason I kept an archive of all my artwork and research in the first place; I'm always finding what I call "prior art", always the perfect piece at precisely the right moment; yesterday I was looking at some pages I wrote on the typewriter in November, 2009, and had the sudden realization that I've been working formally on my workspace theory at least since then, by reading documents I didn't even remember I had written; it consolidated and strengthened my belief that I am not in fact crazy, that I have a rigorous and comprehensive, experimental design workflow management methodology that works seamlessly and that is perfectly adapted to the kind of interdisciplinary art-research work that I've been doing for decades, in The Art Operation at The Historiotheque;
- Right now I'm finishing my morning coffee and reviewing the work I did yesterday + also reviewing the last week's worth of work, as part of my weekly and monthly retrospectives; I also do "seasonal" retrospectives, biannual, yearly, and ones for various phases of my life and career; I am realizing how far I've come over the years, what amazing progress has been made;
- As continuously go in and out of the archives, I realize how much progress I've made, how prolifuc I was, but also had some memories of when being critized extremely harshly in my career as an artist; people didn't understand what I was doing, told me that my work was incoherent; It's alright, everyone's entitled to their opinions; 
- I've also had people write graffiti on my artwork or otherwise deface it, other works were stolen, and entire collections were destroyed either by "iconoclasts" I guess you could call them, or else water damage; other work, especially all my works in larger formats, had to be abandoned by the side of the road because I couldn't fit them in the truck I had rented for moving my art studio to another location;
- I've lost so much work, that has to be the reason I spent so much time refining and re-refining my archival work, my work methodologies in general, so that that never happens again, because if I am being frank, it was quite hurtful, to lose all of that stuff, and to be called incoherent and what have you;
- I'm now going to print out and review these notes and then maybe make some music on the computer - with headphones on - or else do research, maybe do some reading of one of the many books I have presently "on the go"; I've been trying to finish A Writer's Diary by Dostoevsky, which is a masterpiece unlike most of his writings; it almost reads like a blog, with rather long entries; I recently ordered a book of writings by Erik Satie and am really looking forward to reading that; Satie is probably my favorite composer of all time; he really speaks to me as a composer, but also as a general fan of great music; he's also had a huge influence on my piano composition; I often try to emulate his complex harmonies when I improvize on the piano; I'm actually recording piano and organ compositions these days, every week I try to record a few pieces as part of my Seasons of The Heart Project, the year-long, secular, liturgical song cycle that I've been working on for many years; there seems to be something about the practice of musical composition that is hard to describe sometimes; it takes so much discipline and hard work; sometimes I think it's even worse than an internal martial art; you have to be so solid, and it requires so much patience and perseverance, stamina, strength, everything else you can think of, of that nature and in that general vein; anyway I need to print this out and review it immediately so I know in what direction I want to take today's work; Stay tuned...

2026-06-07 11:55:10

- I ended up doing some more research, printing it out, reading it, highlighting it, writing roughly 7 new Refcards on my workspace theory and then went for a short walk where I recorded the church bells; I also meditated and prayed at my mom's grave, as I do every morning during my morning constitutional; I also read from a book by Christine Buci-Glucksmann, called Baroque Reason, which treats of Baudelaire and Benjamin in many ways, and I must say is one of my favorite books of recent years; Every year I go back to the library and take it out and read it, just for the sheer pleasure of reading the masterful, amazing, hypnotizing prose of Christine Buci-Glucksmann;
- I also listened to several old tracks, old songs for guitar and voice that I recorded in the 2001-2004 period, when I lived in the NDG borough of Montreal, Quebec, with my then-girlfriend; I think that I was really close to my emotions in that period, though I happened to be suffering a great deal, but I was definitely "in-touch" in a way that I have rarely been after about 2007-2008 when I had a "rough patch"let's call it; it wasn't just that, I had been "riding the waves of history" if I can call it that, for many years, being really close to the mountainous terrain of modern history, riding the wave; I was exhausted, and it's where I learned to make the art-research practice impersonal; I was just trying to say that it's hard to write and record music if you aren't entirely "in-touch", to reuse the expression;
- I mentioned the harsh criticism I've received as an artist; the reason I feel comfortable talking about interpersonal conflicts such as these, as well as the water damage to my art collections, the graffiti, the outright destruction of collections and pieces, and art theft as well, is that it fits in with the research I've been doing for decades on what I call "historiopathies" or "historical pathologies"; I can't get into it right now because it's a huge topic that requires a lot of careful interpretation and many systematically meticulous explanations, but in short, trauma and grief are some of the many things that can get inherited from one generation to the next, and the role of the arts & culture, in my view, is always the preservation of the greatest things humanity has to offer, a process, and project I call The Faithful Transmission of The Cultural Treasure Across Generations; to do justice to this pan-millennial civilizational process, one at times has to get into the nitty-gritty of things, the ugly side of history; while I don't believe in the politicization of art, and will never get political publicly as an artist or as an individual person, if one wants to do justice to the faithful transmission I just mentioned, one has to look at the discontinuities in said transmission, and what that entails, what dark consequences can come of that; so trauma must be addressed at some point; more on this later (it must be done with the highest grade of care and concern, however, and hopefully some expertise in the matter, or people could get hurt; I always try to remind people that this kind of work CAN cause people to become decompensated or else disorganized, and believe me, nobody wants that, but most people never think of these types of risks & liabilities; people just think "Art is free; everything is possible!");
- To come back to the main topic, I plan on writing a bunch of new songs, finishing my DAYBREAK album from a few years ago; I'm also continually writing, recording, and publishing new songs for my Seasons of The Heart Project, as well as new tracks for my Symphonie du Vieux Village or Symphony of The Old Village; I also just do ambient, experimental sound design on the side as it is a passion of mine; I know a lot of people will have trouble understanding what I do; so long as it doesn't cause you to not have compassion and empathy for me as a person, an individual; I find that often people lack comprehension, they have a comprehension problem, and they seemingly project it on others in some strange way, precisely calling you strange when really it is their experience in their minds and souls that is strange, the strangeness of incomprehension; so if you don't understand, either keep it to yourself or let me know, and I will take the time to answer any questions, but please don't dismiss my entire existence for your lack of comprehension; I don't like having to say such things, but it's really annoying, especially after 30 years of practice, when people are condescending or out right persecutory; anyway, it needed to be said, I will go onto greener pastures;
- I recorded a new piece and am putting it online, called Symphonie du Vieux Village: Cloches Matinales (or Symphony of The Old Village: Morning Bells); as always, I practice continuous review and so I have thoroughly reviewed my work from earlier this morning, and had already reviewed yesterday's work after I woke up, as well as reviewing the work of the last week, since we are Sunday after all and at the start of a new week; I did a comprehensive review of the month of May, 2026, over the last couple of days; now I think I'm taking the rest of the day to catch up on my reading, as I've been so busy of late logging and documenting everything that I never really got around to doing much of the reading I absolutely need to do to keep my sanity; or else the hyperreflexivity can be poisonous!
- I am sharing the piece here for the first time, the Symphonie du Vieux Village: Cloches Matinales:

2026-06-07 16:37:53

- I actually ended up going back out for a walk, then I wrote and recorded a new song for my DAYBREAK album, something I've been working on for a while; here it is, it's called Quiet Clockwork:

- I also recorded and published a new video presentation last night, which I had been trying to get around to doing for a couple of days; here it is, it's called WHAT IS THE ARCHIVES-PROJECT? (PART TWO):

- I went for another walk, to the library just now, to bring back a couple of books I had finished reading; I kept them around a little longer than usual in case I needed to refer back to them; I also ended up doing my "back-and-forth" dialectical and dialogical method between the main desk and my computer terminals, printing out research, reading it, highlighting it, taking notes, writing refcards, carrying the refcards from the main desk to the computer terminal, printing out more research, writing logs and documentation on the computer, taking the printed materials to the main desk, and the process just starts back up again, ad infinitum;

- I am seeing this more and more as a kind of movement practice, or an internal martial art, kind of like Tai Chi or Aïkido or something of the sort; it's just a modified Feldenkrais practice, which I did for at least 15 years with an amazing teacher-practitioner; I am going to write more songs, I'm on a real winning streak.

ANTILOG_06June26a

“THE ARTIST ON HIATUS” by A.G. © 2026. All Rights Reserved.

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ANTILOG_06June26a

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2026-06-06 08:08:32

- I woke up with an idea inherited from the past few days of research with a new or else modified research question; I immediately got to work on some new research, which I did and then printed out my notes on computer terminal no. 1, after which point I went to the main desk to read, highlight and takes not on the printed materials; Now I am taking these back to computer terminal no. 1 to transcribed them and use them as launching pad for more research (which I will print out and go to the main desk and start the oscillatory pattern or also dialectical/dialogical rhythm that my work across the workspace follows;
- Today's research thus far has to do with the application of my Historical Topology ("HistTop") to work that AI researchers such as Dr. Fei-Fei Li are doing with world models and spatial intelligence in AI; actually, it would be more accurate to say I am backing up workspace theory by historical topology and then taking the whole of that line of research and applying it to world model/spatial intelligence treated in by current AI research;
- One of the major differences between my work and the work of leading, cutting-edge AI researchers is that I am working through these problems - and their elegant solutions - manually through a physical workspace; granted, my workspace is also virtual, is a physical/virtual hybrid workspace, but still, a lot of the fundamental research into experimental design workflow management methodologies that I do - and concepts and theories that stem out of them, such as workspace theory - is being physically "worked out" procedurally in the workspace, but manually; at this point it's hard to say who is ahead of whom, whether the AI researchers are ahead of me, or I'm ahead of them; I just know that to the best of my knowledge, no one is doing the kind of work I'm doing on these methodologies and their respective models;
- So once again I'm stating for the record that AI world models need (a) workspace theory; what I'm working on at the moment specifically is the whole delta-workspace theory from its inception over a decade ago and what that means for just work in general by artists first and foremost but also with other types of researchers; I'm thinking of the idea itself of tracking "deltas" or "changes" ("indicators of change") in the workspace modeled as a continuously changing 3D surface or "workspace", but not in the way that you might think; it needs to be processed nonlinearly, and for humans this means nonlinear cognition and nonlinear practice; so the AI will need to start "thinking" (or "processing") in a nonlinear manner; more on this later;
- I have just finished more research at computer terminal no. 1, printed it out, and now will go read through it, highlighting it, taking notes in my physical notebook, and then I will finalize this morning's work by creating unique, atomic Refcards that I will later take back to the computer terminal no. 1 and continue logging, documenting, and working out the actual next phase of the theory itself; I will also print out today's antilogso far and read and highlight, take notes on that at the main desk; in the afternoon, I may record a video presentation of all of this or else take some audio notes, and will likely also do some low-level art production; Stay tuned...

2026-06-06 10:14:58

- I printed the new materials at computer terminal no. 1, took them to the main desk, then read through them, made highlights, took notes, then I put the most salient points on Refcards; now I am back at computer terminal no. 1 where I will transcribe them onto the computer, on Google Keep and in a .txt file on my deskstop (my main logfile for this workstation); This will then be the launching pad for a new line of research and then the process starts over again; I will also review the last week of work ("retrospective") and take notes on those; I also printed out the notes on the beginning of this antilog, as I said, and took notes on those; now I am back at computer terminal no. 1, as must be obvious by now, to start up the pattern of movement that will characterize the rest of the workday; (SEE: "Rhythms in The Workspace" project);

- I did the research, printed out the materials, then went to the main desk to read, highlight, take notes in the physical notebook, then make Refcards; at this point we are rapidly approaching the "point of saturation" from the distributed polytextual practice, after which I hope to record a video presentation; I still hold fresh in memory all the work I did on the Picasso-Braque collaboration and on Walter Benjamin's work, namely his idea of three-dimensional writing which spawned all of what came after; I hope to record myself standing at the chalkboard to go over this content but in the purely physical domain, through live note-taking on said chalkboard; I find it more instructive and pedagogical that way, what I am now calling histororiagogy.

2026-06-06 11:22:05

- I just finished reading and highlighting (at the main desk) what I had just printed at computer terminal no. 1; I also put the most salient points on Refcards, as predicted; I was studying some research on computational historiography which has many commonalities with my Historiomics/Historionautics frameworks; I looked at various datasets and platforms; I began thinking of my Switchboard Method in terms of dynamic task allocation which I believe came out of work in the military, you know, what they call duty cycle rotation; I also looked at what is called Network-centric self synchronization as well as the proverbial "operational valu chain"; I looked at two primary spatial frameworks on which navigation relies: the egocentric (self-centered, first-person, self-to-object) + allocentric (world-centered, third-person, object-to-object); somehow, I was able to connect this to research in phenomenological ontology, maybe I can get into that later;
- I was thinking about how time order matters; more importantly, though, the workspace is a historiotopia, its Surface is your immediate operational field => it is a 3D/4D canvas of immediate attention => The Geology (The Archive): beneath the surface is a vertical stratification of memory (w/ discontinuities, "gaps"; SEE: Michel Foucault's Discourse Analysis); I also thought about how my practice is already a multi-agent system: I function as a Painter, a Sound Designer/Musical Composer, and an Author (of fiction and non-fiction); I move from one role to another rapidly throughout the workday, across the workspace; I communicate with myself, making mental notes or "inner refcards" and also physical refcards, or "outer refcards";
- I thought about the structural capture of SILLAGE; SEE: my Phenomenology of Sillage; I also thought about my Breadcrumbs Method of leaving an audit trail, how it ensured that every single "mutation" in my work + workspace can be traced backwards, ensuring "reversibility", which is an important concept in The Feldenkrais Method; i.e. "Let's rewind the tape and see!"; once again, as I often do, I thought of the nonlinearity of the work + workspace, which I think might be the reason The New Documentation exists; more on the methods of The New Documentation later; I thought about how AIs suffer from "catastrophic forgeting" or context-window degradation because they treat memory like a flat text file; in Historical Topology or HistTop and the way I conceive my art studio + researcher labs, The Historiotheque, AI memory architecture should be built as a "Geological Archive" where past states are shifted into sub-space layers where they maintain their relational connectivity allowing the AI to PULL them back to the "Surface Historiotopia" instantly via adiabatic accessibility; more on adiabatic accessibility in the workspace, you can refer to my WORKSPACE THEORY document for a detailed, high-level explanation of that; also, agents should communicate through a shared "Unified Field of Experience" I am calling it, a shared workspace topology; I covered many other topics, from innovations in military technology over the last 100 years and stuff from just plain project management & organizational theory, but I will leave it at this for now; Now I am going to relax a bit, maybe take a short walk to decompress, and hopefully record a video presentation of my last week's worth of work and also create some art (and listen to some music plus do some planning for future recordings for my Seasons of The Heart Project as well as my Symphonie du Vieux Village (or Symphony of The Old Village) which I have been working on for the last 10 years; Stay tuned, more to come in this antilog, either today or tomorrow or in coming days. (Note: I forgot to mention "cognitive collapse", which is partly why dynamic task allocation and duty cycle rotation is so effective, and also what I call "workspace collapse" for short, or "workspace (function) collapse" to relate it to wave function collapse, though the concept is different. More on that later as well. I always review my antilogs, so I "capture" all the threads that end in "more later" and end up finishing the logical threads sooner or later."

2026-06-06 14:38:22

- The "operational historiotopic velocity" => by programming an AI to calculate Historiotopic Velocity, the AI can determine whether a human environment is in a state of continuous, gentle deformation (normal daily use) or a critical rupture (a crisis, or an intense creative session); It can djust its own "behavioral sensitivity" to match the velocity of the room (SEE: "ambient vectors" / "ambient room dynamics");
- "THE MASTERPIECE IS THE METHOD"; "the product is an illusion; the process is the architectu."; The true creation is the design of tte laboratory itself => The highly sensitive, hyperreflexive, perfectly audited engine of experience that allows those mutations to occur without losing its soul; A' = M(A), A-prime is the Mutation of A; Mutation-functions => material transformation, "transmutation", maybe dare I say a form of secular "transubstantiation"; The Historiotheque is a Secular Temple, it is a BLACK BOX w/ variable geometry where experiments of all kinds, universally, can be performed or "executed"; The workspace follows the Art Oeprator's art and research;
- The hyperreflexive workspace model of intelligence: Art Operations v.6.0.1 => We define intelligence as an active, self-recording system that navigates a folded, historical, multi-media environment; as active field of awareness and transformation; The Historiotheque as the Cognitive Surface; It is a multi-layered manifold where visual art, sonic architecture, functional text (code) + physical inputs (Refcards) exist simultaneously in a state of Polytextuality; They are localized "gentle deformations"of a single, continuous experience; (Whether I am painting, writing, coding, etc., the system measures deltas (or "indicators of change in the workspace", ΔW); This keeps the entire system highly pliable and hyper-sensitive to external signals, preventing the information from stagnating into rigid, uninterpretable states; (SEE: "interpreters" in computing; AND ALSO: permeable vs. impermeable boundaries or "envelopes"); For any transformation ("mutation", [M]) in the workspace to be coherent, the new state must be adiabatically accessible from the previous one;
- Again, "spatial intelligence and autonomous world models" is the theme of the day; In my practice, which is project-based, projects are treated as adaptive meta-agents (P_n); in a Historiotopic AI, different projects or modalities (text, audio, vision) are treated as adaptive meta-agents that co-exist in a game-theoretic environment (SEE: "Strategic Intermedia Art" [Art Operations], "Info-Ops Art", "Tactical Media"); The active layer hosts current processing while the sub-surface (The Archive) holds snapshots or savepoints; The archived states are never truly gone, they exert an active Atmospheric Sillage (a lingering wake or force) onto the present surface layer; The AI navigates its own past experiences based on their structural equivilence and resonance w/ the current problem ("Art is finding elegant solutions to aesthetic problems"), collapsing linear time to let historical insights actively shape future predictions => The laboratory-as-medium itself ("Intelligence is an ongoing Strategic Intermedia Operation");
- In conclusion, the 21st century is where people all became experimentalists; it's just that I was one of the ones who formalized it, the work, the workflow management methodologies, the workspace, the workstream, worldstream, etc.; We are all interdisciplinary artist-researchers now!

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.