ANTILOG_01July26a

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ANTILOG_01July26a

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2026-07-01 06:30

- I just ran a new experiment for my old project from over a decade ago called the "WHITE POINT PROJECT", which I have written a good deal about in this antilog; I took a photograph of my wall, then added a box on the right side where I incuded two hues that I sampled from it that I considered to be the two main colors I could see with my eye, in said image; I then wrote a text called "ÉTUDE ON ATMOSPHERICS OF THE INTERIOR", where I go into more details on the specifics of the experiment and how it connects to my "WHITE POINT PROJECT", whose objective is to try to get people to start to observe and notice subtle changes in the colors of surfaces in interior settings in order, I hope, to deepen their appreciation of the poetic quality of these ambient spaces they inhabit; here are the labnotes I just took after running the experiment and posting all of it online; I keep the labnotes on my antilog because I don't think they are necessarily all that interesting for the average person; the text I shared, alongside the picture, is all anyone really needs to know; here are the labnotes:

2026-07-01 12:54

- I ended up making another field recording of Atmospheric Tone, turning it into a video, publishing it on YouTube, and sharing it on all my social media sites, or most of them; I am going to try to keep making these semi-regularly; I think it's an important addition to my daily practice; I know that most people won't "get" it, but if I only produced art and research that people "get", I wouldn't be very prolific;
- I also just recorded another video discourse and published it again on YouTube; it is called "THE LUMINOUS HISTORIOTOPE: THE UNIVERSE AS SELF-INSCRIBING CANVAS"; I presented it as either a neo- or a post-Einsteinian vision or revolution; the idea was to take my new Atmospherics Theory and present it as "earth-shattering", as much as Einstein's theories changed the way the world viewed the universe and everything in it; it was meant to be similar to Immanuel Kant's Copernican revolution;
- Last weekend, I was at the Abbaye Saint-Benoît-du-Lac, spending my days in silence and solitude; I had many powerful experiences that continue several days after I left the Abbaye and I predict will continue to inhabit me, shaping the direction of the next several months and even years;
- I now have a much better design concept for my new novel, The Chronotopium; I wrote the following abstract if you will the other day as part of the process of really developing the design concept for the novel:

The novel is called "THE CHRONOTOPIUM: A STORY OF ALGORITHMOGENESIS" and has to do with our civilization in the future where civilization is backed up and built upon a massive, planet-wide computer system called ARCHIVILLUS, which is basically the personification of a massive distributed database which holds the "complete human archive" going back to pre-hominid times, an archive that contains all of the errors and failures and whatnot, conflicts, historiopathies and the rest, that have ever occurred on planet earth, on what is called "The Historiosphere". It is used to ensure that "The Chronotopium" continues to run smoothly. Why it's called The Chronotopium is that there are really no more conflicts among humans, they are running perfectly smoothly, everything is in perfect order and perfectly synchronized. They are more like an "eusocial species" like ants or whatnot. Everything is governed by the laws of sacred geometry, and it is a "temporal utopia" if you will, where all "chronosystems" are perfectly aligned and in sync. Why it's a story or book of "Algorithmogenesis" is that long before the current status of the world founded on the ARCHIVILLUS SYSTEM and running in perfect synchrony everywhere all the time, humans began to change fundamentally as a species. They began becoming more and more engaged in procedural generation, in the use of machine intelligence for everything. Unbeknownst to them, they were in the process of becoming what we call "algorithmic beings". Algorithmic being presents itself to society as a kind of "global historiophany" and the process just accelerates from that point on. There are no unclean spirits, no contamination of the mind, no one has any trauma, there is no intergenerational trauma left, everything is clean, and the action in the novel runs as smoothly as ARCHIVILLUS in keeping everything perfectly in check.

- And here is the video I mentioned above, "THE LUMINOUS HISTORIOTOPE: THE UNIVERSE AS SELF-INSCRIBING CANVAS"; I will get into the conceptual framework I am using for this, which is all part of a new project called "THE CHRONOTOPIUM", which includes a novel by the same name that I've been working on full-time at this point after my very inspiring trip to the Abbaye Saint-Benoit-du-Lac:

2026-07-01 14:51

- I kind of had an interruption, or I wouldn't call it that exactly, call it inspiration; I ended up making some other videos, two of them, the first being a video of me taking apart a cardboard box while reflecting on The History-Project which I actually started almost 25 years ago; the second video is of me actually doing the first pass as I call it, on a new painting in a new painting series for THE CHRONOTOPIUM-PROJECT, as I am now calling it; essentially, it's what I call a "history-machine"; before I get further into that, though, I want to share with you the Atmospheric Tone field recording I made earlier this morning, just for the record/for future reference:

2026-07-01 16:14

- In passing, I just realized that at least one group of artists already used the name Chronotopium for one of their projects; since they can't copyright the term, since it is essentially the term Chronotope just with a different ending, and they can't copyright Chronotope, I am taking the liberty to keep using the name for my new novel and the new project which houses that novel; if ever there are copyright issues, I will just change it to THE CHRONOTOPE-PROJECT and then no one can ever say anything, since that's a term used in the work of Russian philosopher and literary critic Mikhail Bakhtin; I may just switch it to that anyway just in case;
- In any case, I just recorded a few other videos as I was saying and now they are online; here is the first, called "OVERTURE TO THE CHRONOTOPIUM-PROJECT":

- The video I just posted above is just me taking a cardboard box apart and talking about my interdisciplinary art-research project, The History-Project, which I started almost exactly 25 years ago; I go into some details on the process that led to the project, where I had just moved to the NDG borough of Montreal, Quebec, and needed to keep painting not to lose what I call operational continuity; I needed canvases so I took apart the boxes I had just moved into our new place and painted on the cardboard; I have been told many times that I shouldn't paint on cardboard because my paintings are valueless, because cardboard is valueless; I think I painted almost solely on cardboard after I was first told that; you can't force me to do anything, the more you try, the more I will do the opposite; here is the second video in this series, this time, on "THE BIRTH OF THE CHRONOTOPIUM-PROJECT SERIES" where I do an actual demonstration of how I work on my mixed media pieces with collage elements nowadays; what I find hilarious, hilarious to me anyway, is that all these artists nowadays are making videos of themselves painting or else showing the inside of their massive, luxurious art studios and I'm making these shitty little videos in my kitchen taking apart cardboard boxes and painting on "valueless cardboard"; I'll show them; this is how you create original art, isolated from the universe, in what I like to call "a crucible of hellfire":

- And here is the first official painting of THE CHRONOTOPIUM-PROJECT SERIES; I may just keep it at this for today's antilog; I could go into much finer detail on everything that I did today, everything that transpired in The Historiotheque and outside it too; I just want to keep it short and sweet for today, and anyway it's already been quite long; I'm still just getting acclimated again to life outside the Abbaye; I have a lot of work to do, lots of writing, I have an incredible amount of reading to do, reading too; so many books to read, things to write, and now an entirely new series of paintings to paint;
- I was already working on a new series of paintings, mostly portraits, before I took my weekend trip this weekend; I will be continuing those too; that project was called "ANATOMY OF AN AESTHETIC PROBLEM" and had a lot to do with the work of Walter Benjamin, his Arcades Project as well as his writings on Surrealism; also I was just going over works by modernist authors as well, and painters, where I took up my Cubism studies after an almost 25-year hiatus, as I was saying above; that series can run concurrently with this new series; the ANATOMY OF AN AESTHETIC PROBLEM I guess is a subproject of THE CHRONOTOPIUM-PROJECT, part of the research that is going into it, that is going to be the foundation it's founded on; the ANATOMY OF AN AESTHETIC PROBLLEM also includes a lot of music I need to write for piano, organ, and orchestra; more on that soon, as I will be making some ambient, experimental sound design, possibly tonight, but in the coming weeks, and recording more and more pieces of piano and organ for my Seasons of The Heart Project; to conclude at least for now, if not for today, here is the first official CHRONOTOPE-PAINTING; much will need to be written on the subject, and I think for now at least I will call it THE CHRONOTOPE-PROJECT and only mention the actual Chronotopium in the novel itself, which is fictional, so no one can stop me from using any term I want in a fictional novel: