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ANTILOG_20June26a
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2026-06-20 08:16:11
- I've been working on new research I am tentatively calling Atmospherics Theory or just Atmospherics; it builds on the foundation of 30 years of ambient, experimental sound design; I've been busy trying to read as much as possible on what you could call the precursors of this new line of research; there are the usual suspects like R. Murray Schafer and Hildegard Westerkamp, but I've been able to identify several other artists and researchers that have done work that I find leads up to my Atmospherics Theory;
- I've kept on making regular Atmospheric Tone field recordings and posting them online; I have a vision of a kind of microblogging platform like X, but made specifically for posting field recordings of Atmospheric Tone, a global platform to create a kind of Soundmap, or Noisemap, that is distributed across the globe; I may never see this vision realized and in fact it's something I've been thinking about for over a decade, of what I called moraltempcards which are "moral temperature readings"; you could call it "social mood", as I find the term moral rings strangely to some people's ears;
- Talking about ears, I came up with an educational program almost 20 years ago that I called The Awakened Ear; basically, it's meant to help people awaken their ears, that goes without saying, but it's a really rigorous program of research that I find can really help people not only awaken to their HEARING, but awaken also to a more complete experience of the world, of their surroundings and their place within them; it's a humanistic program, as all my work is humanistic;
- Here is a recording I made of what I called Spontaneous Sorting Algorithms in the Archives; it is founded on something I started about 12 years ago, when I made a series of 9 videos of what at the time I called Experiment in Spontaneous Creation of Organization Heuristics; basically, I was trying to do some sorting and organizing in a dozen or so folders that had hundreds of pages of printed materials containing reference materials (#Refmats) and my own writing and research; I decided that I would just improvize my way through the problem; I identified the problem and found a solution in real-time; I recorded it and published it online; maybe the solution is not optimal in terms of efficiency, that is to say, maybe it takes longer to do it this way than it was if I used some professional standards in knowledge management or archival work; the thing is, it doesn't have to be optimal, it just has to be useful and adapted to my practice; what I did the other day was a similar kind of experiment, I took a dozen folders from the archives and went through them, I "processed" them page by page, creating new folders for current or new projects based on what I found across these folders; I call it "folder-compression", which is a way to downsize the archives, to keep it tidy, to reorganize it, because over time I find that the archive needs to be reorganized in different ways; old projects are retired, new ones need new folders, etc.; there are different "layers" too, to the archives; there's a filing cabinet for more current stuff and another more for long-term storage; the current folders are for projects that are ongoing, extant, and need to be reorganized and refreshed often; that is, as you will see in the video, that I must sort through the contents of the folders; then I sort of "shuffle" them, if you will; in any case here is what came out of this experiment; I will be doing more, as I've got many more folders to try to "compress":
2026-06-20 10:06:36
- I'm still busy working on documenting my whole approach to writing novels, or what I call novelistic phenomenologies, or the "novel-as-a-system", as a kind of simulation; I created a new GitHub Repository which will be dedicated to "Design Concepts for Novelistic Phenomenologies"; the basic premise thus far is that there was a fatal flaw in the system by which I wrote novels, or tried to write novels, over the course of the last 30 years; I need not get into it now, if you are interested, just check out my NOVELS repository; I also created a new folder on my computer called "The Experimental Novel" where I have begun an inventory of writings, art, and research over the last several years that were all inching me towards the conception that I have today of precisely that, The Experimental Novel, from Émile Zola to William S. Burroughs and beyond; so far my collection of artifacts is very inspiring;
- I've also been thinking about what I call The Podcast Circuit, that is, the phenomenon of everyone having a podcast now and inviting everyone else, who likely also have podcasts, onto their podcasts, for discussions that range from 1.5 hours to 3 hours, published weekly or biweekly; I think that it's just impossible to catch up, to stay current or up to date when there is more podcast content than can even fit in a single day; in this regard, I love what Gordon Brander wrote in one of his posts on his Squishy Substack, which was in the context of a piece on hypertext montage:
"When we talk together, we flatten our N-dimensional thoughts into 1D linear narratives, in order to fit them through the 1D bottleneck of words."
- In the context of The Podcast Circuit, I find that the conversation is truly 1-dimensional or 1D, whereas the reality they are speaking of, or the experiences of that reality or what have you, is distinctly MULTI-DIMENSIONAL; when everyone takes a turn talking, it's especially 1-dimensional; I recall when my mom used to have her cousins over to play cards or whatnot; they would basically all be talking at the same time, it wasn't a situation where each speaker took their turn to speak; reality is not like that, reality resembles a Martket, which is fundamentally POLYPHONIC; their conversations which I would overhear as a young boy, were interwoven like lines of music, and the overall sound of the conversation would rise and fall like a crescendo and decrescendo in music; there was a complex harmony to it, as each voice was pitched, voices as far as I know always being pitched; the pitches would change, have their own colorings, their own melodic patterns, and each melody would form a rich counterpoint and rhythm with all of the others; I mention this because I was on a walk earlier and heard 4 women talking and they were talking in the exact same manner, each one just throwing a line, their LINE, and the others doing the same; distinctly NOT each taking their own turn;
- How this relates to The Podcast Circuit and other places where these kinds of intellectual conversations are taking place, is not only that it is 1-dimensional but that it is MONOPHONIC, and totally unlike the sounds of the life of the market; markets are noisy and interwoven, there are recursive and nested structures, they are extremely high-dimensional and polyphonic;
- In any case, I have a totally different concept/conception of conversation; it has to be multi-dimensional like the events, experiences, and concepts or whatnot that we are speaking of; it's why my art is intermedial; it's because I am trying to make my work if not AS multi-dimensional or high-dimensional as my fundamental experience of the world, which is at least 4D if not 5D and beyond, then it should be no less than 3D or 3-dimensional; but conceptually and using the artistry of classical and modern rhetorical strateties, I think I can make it pretty high-dimensional; the problem is, as I have found, my work tends to cause what I call cognitive collapse, the complete collapse of one's mental frame at that moment, the moment of encounter; I find that even just my physical presence is usually enough to collapse people's cognitive frameworks; it is all designed that way, I mean I was born that way first and foremost, and then just kept building on those assets that I was born with, and also handed down from the line of artists in my family tree, who graciously taught me everything I know, so I could start 100 years ahead of everyone, should I decide to become a professional artist, which I did;
- Lastly, I leave you with two more of my Atmospheric Tone field recordings which I made and published throughout the course of the day; the first was recorded early this morning at 03:32:
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