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ANTILOG_16June26a
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- Before I begin, I want to share with you a video I made earlier today of a recording from yesterday morning what I have previous called "ATMOSPHERIC TONE"; for those who don't know, often in video and audio editing, one records what is called "room tone", which is essentially the sound of the empty room, or at least empty of any human sound, just the room itself, in all its solitude and beauty; I just extended this to any ambient space whatsoever, what I call atmospheres, for lack of a better term; these are very short; in any case, here is the first one from earlier today, recorded in the morning at Historiotheque 2 (yes, my Historiotheques are multiplying at the speed of light); I now have a second Historiotheque where I work often during the day, of in very early morning, which has a piano, which Historiotheque 1 does not have, so I record all my piano there and do video editing and other related things; the following "ATMOSPHERIC TONE" field recording was made yesterday, June 15, 2026, at 9:10:
- Somewhere near the end of the 2001-2004 period, I took all of the fictional writings that I had written to that point starting from July, 2001; basically I just created a roughly 500-page document that contained all of my writing from The History-Project toward a novel that ended up never materializing; now, I am re-editing that document but I am taking it all apart this time into its constituent parts; so far I'm a little more than halfway through and was able to separate the document into a total of almost 60 unique documents; I am calling this the modular approach to editing a novel, and which will actually be my approach in future WRITING of any new novels; essentially, I will be able to build ANY kind of novel from ANY of these modular parts (which are "atomic units" with regard to my novels); no two novels ever need to look the same; part of this was founded on the fact that my writings of this nature, my novelistic-phenomenological writings, can fit into neat sequences, as they were originally written serially; everything I do, by the way, is serial; in any case, over the next little while, I plan to publish AND archive all of these documents as standalone modules of novelistic writing and also any of the new composite novels that I create from said modular parts;
- I've also been working a great deal these last few weeks on a new project which I finally found an official name for, though as sole creator of these works, I reserve the right to change a project's name, or any other aspect of my work, if I deem it necessary; it is called "The Anatomy of an Aesthetic Problem"; I mentioned this already on the 14th of June, 2026, on this antilog; redundancy is built into my practice; actually, in the "Author's Note on the Rationale for Repetition" in Synergetics, Buckminster Fuller explains that repeating core concepts with varying arrangements is essential for comprehension; more on this soon, and other reflections on Synergetics;
- As I was about to say, I've been hard at work on this new project, doing a lot of ideation, writing about my process, keeping ample logs in different media on different substrates, documenting and archiving, the usual suspects;
- I've been plumbing the depths of the archive, reading through that 500-page composite text I created 20+ years ago with all those mismatched parts, and in the process I had a vision and then a reflection on my workspace, seeing it, this time, as what I called MY SERVER ROOM; here is a quick sketch of that I made today in the early morning:
- I've made my paintings this last week actually, or last few weeks; I've been reflecting on some of my paintings where I painted a reproduction of the famous/infamous Lena or Lenna image from Playboy Magazine in 1972, I believe, an image which has been used in image processing since the field has existed; My use of it, of course, was not to perpetuate the abuse via image appropriation, or the appropriation of a person's likeness, or all of the negative things that came out of that, for Lena herself especially, I guess; my use was meant as ironic and subversive, and a critique of image processing itself as a field of research; I painted in one of my only Large Formats which are Extant, I painted maybe 5 or 6 small Lena pictures, trying to represent image processing functions or effects, and what that looks like and translates into, in the realm of painting; in any case, here is a portrait of a young individual whose origin I can't comment on right now, as I will be publishing it, with an accompanying text, on another media platform and don't want to give up any secrets about it until I've actually begun writing the text; in any case, here is, let's call her one of The Mariae, in my Letters To The Mariae, part of the In The Name of Beauty & Truth Project, which thus far only really has the novel of that name associated with it;
- I've also been reworking my theory of the Black Lemon Market; it's a cross between a black market and a market for lemons; it's my critique of the contemporary art market, which I want to get into soon, but not right now and maybe not on this antilog blog; I do want to share a design concept I made that I want to use as a prop in a video presentation or what I like to simply call a Discourse, which I will record and publish on YouTube probably not too far into the future:
- Around 1am in the early morning of today, I wrote the following on Keep: "Scenes in the world, from a visual and auditory perspective, can have an uncanniness to them that I call historiophanic; that is, the whole "unified field-theoretic" experience, topologically, is imbued with a certain, given historical "sense", if you will, a "genosense" in particular, because it is historiomic in quality and characteristic."; I've actually been thinking a lot about auditory and visual senses as well as the regions of the brains involved in each of their processing, and also the raw processing power of someone like me who has an extremely complex, dynamic, and active mental life; I've been thinking as well how I resemble Dostoevsky physically, but then I seem to resemble all male artists from the last several centuries; here is a piece I made in 2009 I think it was, part of my "de radii" period:
- As I mentioned further above, I officially or unofficially, depending on how you look at it, have 2 Historiotheques, Historioteque 1 and Historiotheque 2, and will possibly open up Historiotheque 3 before the end of the year; I mention this again because I actually want to write something called The Twelve Historiotheques or just Twelve Historiotheques, or maybe even The First Twelve Historiotheques, as part of my The Nth Crusade novelistic phenomenology; more on this in due time, as I work through the archives, Dismantling The Archives, as I like to say, which I have been doing for a few years now, not literally "dismantling" them, but greatly reducing them, "shaving off the top", you might say; In any case, I also made an ATMOSPHERIC TONE piece, always with an actual field recording usually taken earlier that day; this one was from this afternoon, the field recording itself having been recorded at 13:44:
- Finally, I've been working a great deal of Design-Concepts for Novelistic Phenomenologies, which is an essential part of the new The Anatomy of Aesthetic Problems, which supercedes in a way my Workspace Theory which I have worked on of late, in the last month and a half especially, but whose geneses is already well over a decade in the making;
- That means that I've been working onfinishing and repackaging old novels, from the archives of course, as that is where I am most of the day these days, trying to preserve as much of my work as possble, archiving it online and in as many distributed archives as possible;
- I leave you for now with the following, which comes from my notes throughout the day, at more or less regular intervals; I present them as quotations, with a particular formatting for the timestamp:
- [01h30] => I continuously studied over decades what was most historically relevant and appropriate for an artist to create, what I called the "currency" or "currentness" of aesthetic composition. One must choose one's subject, and one's concept, according to certain immutable "laws" at the foundation of such judgments of taste.
- [01h43] => Aesthetic Problem => How does one portray, represent, treat of a given character in a novel? One needs to know their "neurotype"; one therefore needs to first create a "characterological sketch" or "esquisse caractériologique"; one needs to treat of the character as a whole "system" (the "Character-as-a-System" within the "Novel-as-a-System"); characters are personas that inhabit your mind, they can only exist in the human mind, also, though perhaps it could be proven that they exist in the minds of other mammals or animals in general, who at least are social, though maybe even perhaps a reptile who is NOT social may actually create in his reptilian mind, a representation of an outside threat that is a living creature, as }all life forms are attentive to all other life forms" [and must develop a systematic characterology of all of their basic personalities]);
- [02h08] => TEXTBOOK ART => Write at least the Design Concept for a Textbook on Workspace Management for Interdisciplinary Artist-Researchers in Variable-Geometry Workspaces" ("multiple-use").
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