- Many years ago, at least a good 11 or so years ago, I started using some Chrome extensions to manage what I called "TabSets", which are just collections, or "lists", of "Open Tabs", tabs that I have open in my Chrome browser at any given time; one of the browser extensions is called Session Buddy and it saves all of your open tabs into a list that you can export in various formats; what I then do is export the "TabSets" and copy them into various files, such as a .txt file on my desktop and I used to always keep a version in Markdown in a GitHub Gist file online; - Then I use another Chrome extensioin called OneTab which "collapses" all of my open tabs and also has a list of the tabs that I use when I want to "re-open" any of the web resources that I had previously visited; in any case, I've been saving ALL of my TabSets for at least 11 years at this point and have essentially saved a copy of every single browser tab I've opened up over this time period; - The basic idea was not only that I would keep track of all my Open Tabs, but that in saving all of my tabs over time, there would be redundancies, or duplicates, if you will; the duplicates, though, would indicate that a tab was important; if a tab repeats itself over time in the sets, then it surely has some significance; anyway, I haven't lost a single web resource over that time that I could find again in under a minute, just by searching through the .txt files that I create with the lists of TabSets; - Here is an example of a TabSet I created last night; I did it on purpose to only open select tabs so I could show the public what the TabSets look like in the .txt file; at some point, I started to create a special .txt file every year at the beginning of the year or late in December of the previous year or whatnot, called TABSLOG_2026.txt for example; I used to operate my browser like a machine, with over 50 tabs, sometimes much more, and then would save the set of tabs as a TabSet - with Session Buddy - and then collapse them with OneTab; I've essentially been doing this every day all day long for 11 years (11 years, actually, in the form of GitHub Gist files, longer if we count TabSets, which I often called MultiTabs, in other formats on my Desktop at the time); here is what it looks like "on paper":
- To me, this is a form of what I am tentatively calling "Archive Art"; that is to say, I am logging, documenting, and archiving all the time and creating "representations" or "views" of the archive itself; I want to take this a few steps further and will be working on this for the foreseeable future; with that said, I'm still kind of only an amateur archivist, not having been formally trained in archival science; as is almost always the case, it is a work in progress; more on this at a later time; - As I said in my previous antilog post, I have been working on a new, simplified version of my original Schizobot system which I have appropriately called "Schizobot Lite"; I generated almost 60 pages of content for this GitHub repository with AI assistance; I just wrote a DISCLAIMER for the README.md file, as I was scared GitHub would flag it because the content is about a kind of "schizophrenic robot", which might not be appropriate if someone or an automated system thinks I am actually trying to create such a robot; it is just for research purposes, and is a literary work more than it is code, even if it includes a great deal of code; at least the Schizobot Lite version has tons of code, the original Schizobot system, not so much; in any case, I just wrote a labnot on the subject of my recent Schizobot Lite experiments:
2026-08-07 14:03:15
- About the TabSet collections, when I started creating GitHub Gists with the exported tab lists, I would create a new Gist in the Markdown format every time I had a big enough number of open tabs that it was slowing down my computer; often I would create many of these TabSet documents every day; then as I was saying before, after a while I started creating just one TABSLOG .txt file every year; I'm not sure exactly when I started creating those yearly .txt files; - The whole purpose of the collection of lists of tabs essentially was to be able to "reconstruct the timeline" of my browsing history; that is to say, at any given time, I could "rewind" back and see exactly what websites I had been visiting; that's where the duplicates prove to be interesting, because if we chart the TabSets-over-time, we will see slowly how some tabs repeat themselves while others are added; it's a dynamic thing, with the number and nature of the tabs changing constantly; - At the very top of this new antilog post, I included a picture of one of my latest mixed media paintings, part of the ongoing series I call the ANATOMY OF AN AESTHETIC PROBLEM series; I think that this is no. 009 or no. 010, I'm not exactly sure, I would have to count the number of paintings in the actual series thus far; painting series, I have observed, can diverge or converge; when you are working on several paintings at the same time or in quick succession over a short-enough period of time, you can notice changes happening in near-real-time, or in real-time if you are working on several simultaneously; the series can begin to diverge, meaning that there are appreciable changes in the overall paintings themselves, whether a formal change in composition or in the color palette, or else in the subjects or thematic materials of the paintings; it's rare for me anyway that an entire series resembles itself 100%; there are always points where it diverges; but that being said, it can also converge towards a certain point, which is always fun to see; either way, I am somewhat indifferent to the exact direction in which the series is going; I am just the painter, I don't have absolute control over the process; I also never really set out to be a serial painter, it's just something that happened; that's why I say I don't really control the process entirely, it's most like I am a silent witness to it; I can intervene at any point, but it's not true that I have complete liberty in the matter; - People often say that the "possibilities are infinite" in the arts, which I have found to be completely false; there are a finite number of variables which have a finite number of possible values, so it can't be infinite, as the multiplication or product of two finite numbers is always going to be a finite number, if memory serves me right; - Here is a digital portait that I made about a week ago, called The Ancient Sign about a historiophanic apparition that I had in my mind's eye:
- I've been doing an official "Spring Retrospective", a retrospective of the past season of art production and research; that is, I've been going over the "archives", trying to see what I've been doing exactly in The Historiotheque over the course of this past Spring; I went over the logs & documentation, trying to figure out what actually happened, trying to "reconstruct the timeline"; the main objective or purpose of this kind of seasonal retrospective is to find hidden gemstones in the archive; - I must say that I have found many from this period, which was extremely productive and prolific; I will get to that in a bit; first, during this process, I had many realizations about why I've been doing all this logging, documenting, and archiving over the course of the last few decades; sometimes it seems like complete overkill, as you can surely see in my previous antilogs where I am meticulously going from a physical notebook, to Refcards (index cards) where I transcribed content from something I just printed out, then taking the Refcards to another workstation and transcribing those into a text editor or note-taking application, then starting the process all over again; also, I compulsively timestamp everything; I have been reaping the rewards, though, of this methodology which at this point is integral to my interdisciplinary art-research practice; - I realized that, when doing a major retrospective such as this, every season or so, I can do a retrospective of just one specific medium; that is, I can view the archive from different angles; for example, yesterday in the process of doing the retrospective of last spring, I looked at the 13 videos of discourses on my Art Operation that I made since the beginning of May and posted on YouTube; I copied out all the transcripts and used AI to write detailed summaries of each; I printed them out and went to the main desk to read them and highlight salient points; then I tried to reconstruct the timeline of events during this period, connecting each video to other works in other mediums that I was working on at the same time, artworks as well as research; I did a separate "micro-retrospective" of all the paintings and drawings I made in the same period, again trying to connect the different logs together, the time series, if you will, or sequence of videos, paintings, and other media; - Going through this process of trying to reconstruct the time series of all my creations and research for Spring, 2026, showed how these different series across different disciplines and media, are like "interwoven streams"/"interweaving streams"; I saw this as a kind of faceted approach as well, of separating out each stream, then recombining them, separating and recombining; I saw the aesthetic truth, if I can use such a term, of the hyperreflexive design practice, of hyperreflexive design retrospectives; - One of the goals of this was to make a new video discourse called "Hyperreflexive Design Retrospective: Spring, 2026", which I still plan on doing, where I actually go through the contents of all my previous videos, going back at least as far as the beginning of May, 2026; the reason I was starting my retrospective in May was that in the Spring before that, I was still in a prolonged fallow period which started in winter in November or December, 2025; it was a very long winter of much less activity in the studio/labs than my usual levels of high productivity; - In any case, I came to realize that not only is my art practice an intermedia practice, but my documentation is also; I had many realizations just in one day of officially doing a seasonal review, which I started because Summer just started; I found that the method of continuous review was necessary to feel the "rhythm" and "pulse" of history and ride the "wave(s) of History" too; - I then looked at some of the previous posts that I made on my Historiotheque account on Medium, my "Unofficial Release"/"Soft Release" from May 1, 2026, and my latest "Official Release", semantic version 5.0.0. from May 21, 2026; I am actually preparing to write another Official Release of The Historiotheque, of the art studio/research lab treated, as always, as Cultural Software; so I was trying to reconstruct the timeline, went over the video transcripts since May, 2026, then looked at my paintings and drawings since May also, and as I said, I looked at my various releases, including my Official Declaration of Production-Year 2028-2029 that I published on May 18, 2026; then I started looking at my notes in my notebook over the same period as well as my notes in the Google Keep app, which I always timestamp, or try to; actually, some of the paintings and drawings were never timestamped, which caused a bit of a problem; but I usually always take a photograph of my visual art right after I finish it, when I set it aside to observe it for a while; I take a photo at that point and all the photographs on my phone are timestamped; you can see it in the photo's metadata; - This helps greatly in reconstructing the time series/timeline; another thing, though, was that in looking over my physical notebooks, I noticed that one of them was either lost or misplaced; I looked absolutely everywhere for it, like 4-5 times over, I searched through my filing cabinets and every corner of my studio/laboratory where it possibly could have been tucked away or else fallen behind something, in the cracks between two pieces of furniture or whatnot, but to no avail; then I realized that my documentation/archiving system is founded in part on the principle of redundancy; as it turns out, it's possible for me to lose an entire notebook and not lose any important content from it, as I had already copied out the salient points onto index cards (Refcards) and copied the contents of those Refcards onto my computer in two places, a file called LOG_2026.txt where I log absolutely everything, and in my note-taking app on my computer and my phone (I use Google Keep); - In essence, I can reconstruct the NOTEBOOK itself; on the subject of that notebook, though, I distinctly remember hiding a few of my notebooks in the filing cabinets somewhere in I don't know what, a flight of fancy, in an altered state from continuously reviewing everything, the logs, documentation, archives, etc.; when I reach a "culmination-point" or "saturation-point" in the hyperreflexive design practice, I often am in an altered state, which is actually conducive to the kind of work I do, which can be extremely abstract and "heavy-duty" in terms of cognition and whatnot; the work requires a great deal of attention to detail and the meticulous, systematic application of principles and methodologies; but yesterday, I proved the NECESSITY AND UTILITY of these practices; - The redundancy is a necessary part, a fundamental, integral part of the design practice, and even though as I just said, I am meticulous and sytematic in my implementation of it, there are still holes and fatal flaws in the system; what I saw was that I officially formalized the nonlinear practice in the beginning of May, 2026, or at some time in May; it actually wasn't 100% clear what happened in Spring, 2026, even though as I keep saying, I followed the process of continuous review and hyperreflexivity of the design practice TO THE LETTER; but still, it always takes work to reconstrut things, which is why Retrospectives can be such a grueling, painful exercise; - Before going any further in today's antilog, here is a labnote I made on June 21, 2026, of the experiments that I had been running of my field recordings of Atmospheric Tone; I will come back to this Spring Retrospective afterwards, though in essence the taking of labnotes IS "retrospective" in nature, as it is part of the continuous review process;it will all make sense in the end, I promise you:
2026-06-24 03:46:57
- I actually had a vision while working on this Spring Retrospective yesterday, what I call an artistic vision; I saw what I called the "stitch in time" through this process and saw how all of my different practices fit together, the art production, the research, the logging, documenting, and archiving of everything; the archive and work inside the archive is fundamental to what I do as an interdisciplinary artist-researcher, in fact, I couldn't do what I do, accomplish what I accomplish, if I didn't do things this way; it's not enough just to create innovative cultural artifacts; one has to constantly reinvent and renew oneself, start new projects, invent new concepts, and generally surpass oneself; the archival work serves this purpose perfectly; I wish I could just paint and not have to worry about all of this history; what I experienced, though, the vision of history as a stitch in the fabric of time, helped me with my design concepts for my new novel, THE CHRONOTOPIUM; it has to do with something I am calling "being-in-time" which I can perhaps get into later in another antilog; - This stitch, I will add, reminded me of my history-paintings circa 2001-2004, the hashmarks, one could call them; the image I saw may just become another type of painting, the "documentation-painting"; SEE: history-paintings, technique-paintings, process-paintings, inhibition-paintings, archives-paintings, etc. (there are paintings of all sorts of occasions, visions of an innumerable variety; - I decided that I will buy one of those Accounts & Ledger books, something more professional, to keep a formal log of allproductive events inside The Historiotheque; also, to conclude on all of this, the retrospective process is NOT about the past or dwelling in the past; it is about the sacred art of time travel and cultural innovation, true cultural innovation; I don't mean time travel as in actually visiting different eras with some sort of time machine; no, it's an ontological and phenomenological time travel of experiencing the ways of seeing, if you will, of artists and researchers from different times; for instance, after reading an essay on Surrealism by Walter Benjamin the other day, I was transported into the Surrealist period in art history and was able to grasp, to truly, deeply grok what it was all about; I had already studied it greatly in the 1998-2002 period or thereabouts, but never understood it in the way that I did the other day while reading Benjamin's essay; it also made me realize for the first time what Benjamin meant by profane illumination; it's essentially the same as my concept of historiophany or historical revelation, though I would argue that Benjamin's profane illumination is one of the many types of historiophanies that one can have, is one of its fundamental types; - N.B.: The physical notebook that I lost or misplaced will show up again at some point while I rummage and browse through my personal archive and it will happen at precisely the most critical point and will be one of the many spontaneous discoveries that I make while going through this review process; on this subject, I want to share an old video I made 15 years ago, in 2011, called The Art of The Found, where I talk about a new metaphor for this type of search/research/discovery that was inspired by something Microsoft implemented, which I first expermented in its Vista OS, called System Restore:
- To conclude on the progress of my Spring Retrospective thus far, I think it's important to get the movements and sequences - of the "Living Symphony" - right; how exactly did it happen, occur, or transpire?; has it occured like this before?; is it a vision, a dream-image, or an archetype that is surfacing/resurfacing?; we need to know how the experiments went down with utmost/utter exactitude; we don't just write labnotes for the hell of it; - Whenever I'm working "in the archives", I invent new algorithms, that is, I spontaneously come up with new procedures, whether it's for browsing through the archive, or doing what I call "folder-compression" or just "dismantling the archive" in whatever way; I have my highly formalized methods of doing this kind of work, which I practice continuously, but every now and then a "naked problem" arises in the process that I need to "solve"; therefore, I try to "find an elegant solution to the problem"; this happens as a spontaneous discovery; I make these discoveries continuously in my interdisciplinary art-research practice; - One of the aspects of this practice which became clearer and clearer back in May of this year, was that it is fundamentally a nonlinear practice; it was through the "enhanced practice" of this nonlinearity that I came up with hyperreflexive design, which I later realized was just a mode of reflexive design, which I can get into in a later antilog; suffice to say that spending hours in a fundamentally nonlinear practice every day can not only be exhilarating, but it can easily lead to decompensation and disorganization; also, sometimes when rummaging through the archive, I stumble across a folder or whatnot or just some loose leafs of some notes I took that happen to come from a more "difficult" time or period in my life; I find that the key in such cases is to properly, and systematically as with everything else, "process" the experience; that is, I take the folder let's say of jottings-down from the 2008-2009 period, which was particularly trying for me, and I meticulously go over every page, trying to put them back in their original order, i.e. reconstructing the timeline, and then I try to access the trajectories that my mind was going through at the time; my autobiographical memory is phenomenal, though not at the level of Highly Superior Autobiographical Memory (HSAM), also known as hyperthymesia; my memory allows me, however, to access exact memories of my thought processes over the course literally of decades of time; I can access what I was thinking of, what projects and concepts I was working through, and also what the state of my archives were at that time, of my art-research practice in general; - Anyway, one can't rely merely on inspiration being there to do this type of work, what I call "The Great Work"; one needs, requires, a methodology; what I am slowly moving towards is having an actual Accounts & Ledger book where I log everything in a precise time series or sequence, but also I think I may need different ledgers for different mediums, different disciplines, in my Strategic Intermedia practice; the distributed ledger system that I think might fit nicely with all of this, with separate ledgers and whatnot, would force me, when continuously reviewing, to have to reconstruct the timeline, or to make a single "global timeline", if you will; I believe that it's important to do the cognitive work of RECONSTRUCTION; otherwise, one isn't flexing the muscles of one's memory, and one will not have the amazing chance of making those spontaneous discoveries that make my practice so worthwhile; one must choose one's battles; SEE: "choosing one's battles" in wisdom literature; - I need to keep doing this "reconstruction" work; I will be adding more about it either to today's antilog or in tomorrow's or the next day's, as I try to complete my Spring Retrospective; I am seeing, though, how all these streams are "interwoven"/"interweaving", and that in and of itself is the perfect kind of gemstone, which is what this retrospective process is all about: FINDING THE HIDDEN TREASURE WITHIN THE ARCHIVES!
2026-06-24 08:45:52
- I just created another labnote that I wanted to include in the present antilog, for future reference as always:
- 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 counterpointand 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;
2026-06-20 19:00:53
- 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:
- The second Atmospheric Tone field recording was recorded at 07:14:
- 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 antilogblog; 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 1andHistoriotheque 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:
- [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").
- The video above, at the top of this post, is this morning's, and today's "ATMOSPHERIC TONE" video; I explain; - I have decided to start recording what I call the "atmospheric tone" outside my studio; that way, at the beginning of the day, I get the general "room tone" of the "room", except instead of the room where I usually do my recording, I recorded the ambient space outside of it; - I will surely do the same with the room tone indoors, but for now I'm making field recordings, so technically they have to be "in the field"; - I am hypersensitive to the sounds outside my apartment and so have invested in some Loop earplugs, which are doing the trick, except they are small and I will likely lose them, and to buy an official Loop brand cord to attach them to each other, making them much more difficult to lose, it would have cost me more than the actual earplugs, or maybe around that price, but I thought it was even more expensive; this is ridiculous and I will not purchase these, I will just find another way to connect them together; they have hoops that are round and that could be attached by virtually anything; I probably have what it takes already somewhere inside my apartment; - In any case, of late, I've done quite a lot of work, a lot of research, a lot of artwork, and a lot of archival work within the archives; Remember, The Historiotheque contains an Archives, always and forever, every Historiotheque does; Actually, I have officially designated a place I am calling The Historioteque 2, and my old Historiotheque I am calling The Historiotheque 1, so as not to get confused, and so I know, and my collaborators at The Historiotheque 2know who did what and who was at which place, in what location, etc.; - So I have been spending a lot of time setting up The Historiotheque 2 and doing important work there; we are working on a major cinemati experience, working up to it, I should stay, as it won't be finished or published online until possibly at the end of the month, possibly later; I can't really say anything about it here; I talk about almost all my projects online, but some projects I can't document in the same way, can't include in my logs; In any case, we are planning some other videos and are going to be making a lot of videos for the foreseeable future, as we finally have everything planned out and organized to make video editing and filming much more easily within the confines of The Historiotheque 2, though I will also be making videos "in the labs" of Historiotheque 1, and outside it, "in the field"; field recordings outside the lab sound very different than they do in the lab; I will be showing this with my "ATMOSPHERIC TONE" videos; I envision people making these atmospheric tone videos all over the world, and potentially having them archive them all either on my own Historiotheque website, of which I have a domain name but no website yet, or else they could archive them on YouTube as I have done, or ideally on theInternet Archive; - I am officially working on a new series of portraits, of Picasso to start with, and possibly of Walter Benjamin, maybe Moshe Feldenkrais; I may have spoken about this before; don't worry if there are redundancies in this blog; it's rare that at any one time any given person will read anything more than a handful of these antilogs, so it doesn't really matter if there are redundancies; most people will never notice, and those who do might not be taken aback or offended by it (have their "good taste" offended; - Finally, I've been archiving my old recordings from the 1994-1995 period, some from the 2001-2004 period, and still others from roughly circa 2009; I've turning them into videos with still frames with appropriate title and publishing them online on YouTube; Here are a few from a concept-symphony I wrote back in the 1994-1995 in MIDI, which I converted from MIDI to .wav format around 2002: in any case, here are the CIRCUS-MACHINE videos, from the new playlist called CIRCUS-MACHINE (Symphony, 1994-995), there are 5 in total:
- The first video was called Overture To The Circus-Machine, and I just realized that there is a spelling error in the title in the actual video frame; so be it, I'm not going to change it now, or I will later on; this is just a preliminary course of logging, documenting, and archiving work for now, it can be a little rough, it doesn't matter, but it will need to be corrected and finalized; - The second video is called The Circus-Machine: The Dancing Horse; it should be noted that these original compositions from the 1994-1995 period were converted as I said into .wav files in the 2001-2004 period, probably more like 2002, I would say, and given the title Organically Me; that is, it was turned into an album on CD with that title, that I shared with some friends at the time, though most likely most of those copies are lost; I think I recorded like 42 albums from 2001 to 2009, all concept-albums; in any case, here is the second track from today's work, published online on YouTube:
- The third track is called The Circus-Machine: The Fire Breather; I think you will get the general concept; I am still logging, documenting, and archiving everything to prove that I actually created all of this original content, and logging, documenting, and archiving all of the methodologies and techniques I used, plus also all of the original research that went into making all of this; in any case, here is the third track in the series:
- The fourth track is called The Circus-Machine: The Flying Trapeze; again, you can see the general theme; this was originally envisioned as a symphony or symphonic work, one that I was going to conduct myself; I wanted to become an orchestral conductor at the time, and still do, though I would technically still have a lot of work to do to get there; conducting a symphonic orchestra is no laughing matter, not just anyone can do it, only the most skilled, talented, and exceedingly credible and authoritative and rigorous, comprehensive individuals can ever hold that title; if you don't believe me, you don't know what you are talking about; the level of discipline required is extreme, and you have to be able to imagine music in your mind's eyes and ears that includes at least I would say 12 separate threads interweaving, that is, the various voiceslet's call them; usually in an orchestra of this type, there are several actual instruments/musicians playing the same part; so maybe you have 12 parts, but maybe more; maybe I'm mistaken in this, but I always thought this was the case, and learned that this was the case 30 years ago when I was still studying music; so if I am wrong, authoritative sources that were in any case authoritative at the time, were also mistsaken, or I just remembered it wrong ("operator error" of the art operator); Here is the fourth track:
- The fifth and final track is called The Circus-Machine: The Juggling Unicyclist; I will leave this antilog here for now, as I have to attend to a few things before noontime comes; I will write much more, or plan to write much more about what I've done since June 9, 2026, when the last antilog on the blog was published; here is the track for now; I may not come back to this antilog, but plan to as I said:
2026-06-12 08:44:24
- I just realized that Hyperreflexive Design is just a "mode" of Reflexive Design;
- Most of the time, I'm just a Reflexive Design, but when needed, I put on the "thrusters", if you will, and go into "Hyperreflexive Mode";
- I can't be in Hyperreflexive Mode for too long, though, or there are direct consequences; there are consequences of doing just Reflexive Design wor too; for instance, I start to drop objects at random far more often than is usual; also, I make mistakes in my art work, my sound design work; - Both modes have problems, or consequences, their own unique risks & liabilities, but they also have benefits, often great benefits;
- I am still hyper-productive in either mode or "phase" if you want to look at them as phases of the same work in the workspace; it's just that the velocity of work changes, what I call the historiotopic velocity, because it is the velocity primarily of "changes in the 3D surface of the workspace", or what I call "delta-workspace" and the "delta-workspace theory";
- I also realized yesterday that I haven't really had anything published in any real way in my career; I want to publish works and have it referred to or curated or whatnot on the erudit website, but to publish works in academic journals, I can do it no problem, I don't need to have a PhD, but the thing is, I can't have published it already anywhere, basically; so, since I've been publishing my work openly online for 20+ years, even my most advanced projects, concepts, works, and theories, and even have documented my future work 3 years in advance at this point, I can't really publish in academic journals, whose main requirement is that the work was not published anywhere else; - So, to conclude, if I wanted to publish my work in academic journals, which I could easily do, I have all the requisite skills and my work is important and critical enough that it would likely pass the peer review or whatnot, blind or not blind, it's just that I would need to create and work on what essentially are SECRET PROJECTS; and, sorry to those who like to live their lives in secret, I can't be secret; I spent my whole life in secret, I want to be public, open and public; that's the kind of artist I've always been and have become especially of late; that doesn't mean I give up ANY of my intellectual property rights; I give away NON of my intellectual property rights/copyrights; but some stuff can have different licenses for different purposes; it depends on the work; I often do pro bono work, or volunteer, I mean I clean bathrooms and toilets and stuff at times, and I don't copyright that work; I'm being comical, but seriously, some stuff is in the public domain even, it really depends on the project; but 95% to 99% is copyrighted, and even, to be honest, current-day copyright is NOT STRICT ENOUGH; I want to also control WHO SEES IT, WHO LISTENS TO IT, AND WHEN; but at the moment for me anyway that's virtually impossible, unless again I post things online in private, which I guess I could do, like hyperlinks to my videos on YouTube or whatnot; but I prefer to make everything discoverable & findable for now; even with archiving stuff on the Internet Archive, to come back to that, I technically need to give up some of my intellectual property rights in the sense that I have to license it insofar as they need to have it hosted on their systems, archived in their systems; but I digress...
- Here is a Photo-Capture from last night, of The Historiotheque, taken from outside on the front porc; I love this place that I've been staying and working in for the last 10 years, I feel so privileged to have been able to do that and at times I fear not being able to stay located here long-term, as it is becoming more and more gentrified; anyway here is the picture, untouched, unprocessed:
