ANTILOG_19June26a

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ANTILOG_19June26a

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2026-06-19 00:26:45

- As should be quite obvious by now, I've been thinking a lot about the workspace lately; yesterday, I recorded a video, called Spontaneous Sorting Algorithms in the Workspace, of myself sorting through folders of printed materials from the archives; I made a series of 9 videos about 12 years ago where I did something similar, in an experiment I called Experiment in Spontaneous Creation of Organizational Heuristics; the basic premise for the video experiment was that I would take all of my current folders and try to sort through the materials, in an improvized way; I had no methodology in mind that I would use, it would be entirely improvized in real-time and based on what I would find in the folders themselves; at the time, I was printing out a lof of material from the web and from my own writings, and there was no organizational logic to those papers; I needed to organize them, to do a kind of retrospective as I've always done, of said materials; so I had a design concept for a video experiment which became the aforementioned video series;
- In any case, yesterday's experiment was a success, in my opinion; I was able to reorganize the contents of a bunch of folders; the idea is that I took materials almost randomly from within a bunch of folders I retrieved from the archives and I went through it item by item roughly and created new folders, adding a timestamp to the front of the folder and a new title for a current project represented by the sample I took from said folders; this process doesn't have to be exact, meaning I don't need to classify or reclassify every single item; it can be really rough, and I find it's important sometimes to keep at least some of the folder's original structure, even if the order or organization within it is pseudo-random; remember, I love noise in all its forms and may just need to write a new piece - and project! - called Noise in the Archives as a kind of complement to my Noise in the Workspace project I started a while back;
- In another note, as I said in a previous antilog a short while ago, I began taking field recordings outside the studio which I call Atmospheric Tone readings, if you will; these are similar to "room tone" recordings people often make in video and audio editing; I am now recording the "room tone" inside the lab as well to get a basic reading of the atmosphere inside the workspace; this might just have to be another project altogether, which I would call Atmospherics Analysis; in fact, I've been doing a lot of audio work these days, composing music, recording it, mixing it, and also doing a great deal of my ambient, experimental sound design work; throughout the process, I've thought a lot about sound in general, the physics of sound, the physics of atmospheres, and have developed what I think is a unique take which, as stated, would form part of a research track tentatively called Atmospheric Analysis;
- In this new line of research, I conceive of any ambient space as an Atmosphere, and atmospheres have all of the same features of any sound, really, except that it is a mix of disparate soundmarks, let's call them, which are all superimposed atop each other, blending in with one another and forming an overall ambience or atmosphere; I was recording some piano at Historiotheque 2 for a video we were making and noticed that we always close the patio doors to get a better quality audio recording, to avoid recording any background noise coming from outside; what I realized, though, is that if I leave the doors open and put the field recorder near said door, or even outside it on the balcony, then when I play the piano, the recorder will also record the atmosphere outside the studio, blended in with the piano sound inside the studio; this makes a composite atmosphere with two different atmospheric tones superimposed (in the 3D audio field, when mixed together in the DAW);
- I also came to the conclusion that authors of creative writing, mainly fiction, and specifically novels, also novels from the modernist period which is what I was studying, all have particular atmospheres, that is, the authors create atmospheres; I know that geocriticism and ecocriticism already, but my Atmospherics Analysis or Atmospherics Theory is different, different and unique; what I realized, like with a novel like Virginia Woolf's Between the Acts, is that essentially, and this is my interpretation which may be flawed, she is representing and reproducing in fictional prose the environment in which she wrote the words that made up her novel; it is my opinion, after much research and reflection, especially trying to find any research that goes in the general direction of Atmospherics Research, the author of fiction and of novels is basically ALWAYS reproducing in prose what they are experiencing not only in their immediate environment, but also what they are experiencing in their interior evironment or milieu; this milieu is of critical importance and I found in any case that when doing creative writing, mainly fiction in the form of novels, one has to be in-touch I call it, with one's inner space, one's body, etc., and everything has to be in harmony, the inward space has to be in harmony with itself AND with the outer space ("ambience" or "atmosphere");
- I've done a great deal of inspired writing and it is my direct observation of the process from the inside that instructs me in forming this hypothesis, as it remains a hypothesis until I have enough data to back it up, which is what I'm trying to do by amassing hundreds of Atmospheric Tone field recordings, which I plan to analyze using the modern tools of data science, especially visualization of data and datasets; this will eventually fold back into my work in acoustic ecology, as most of my field recordings outside include bird sounds, and the Old Village where I live has dozens of different bird species; NOTE: ambient space outside in the world, in nature but also in spaces such as the village, always have a unique sound; what I mean is that you can make a field recording in the morning at let's say 4am on a day in the middle of summer, you can make two separate recordings at exactly the same time, but itwo different locations, locations with an appreciable distance from one another, and the overall STRUCTURE OF THE ATMOSPHERIC TONEwill be completely different; the niches or ecologies will have their own set of natural sounds, different sets of birds, of insects, of anything that is sound-producting;
- In a place like a village, town, or city, the natural environmental sounds, the background signal or sound, will include human-made sounds, everything from motor vehicles to the sounds of construction sites, to people walking down the street, chatting with one another; you always have some amount of wind, too, even if nearly imperceptible; wind is an unfortunate thing in field recordings a lot of the time, and I find with regard to my Atmospheric Tone readings, it is not only impossible to remove once recorded, but I haven't yet found a way NOT to record it; it blends in, bleeds into, every other sound;
- I've also been publishing images taken from my workspace which I collectively call Work Records or Work Recordings; these are pictures or other forms of recordings and data-gathering methodologies that are of the actual workspace itself, in its current, unique "work-state"; that is, it is a "snapshot" of the state of the exposed surfaces of the workspace, its appearance basically or we could even say its "face"; these word records are meant to show the structure of the given "facets of the work-face", the current status of the work-states of the workspace (I know, that is a mouthful!); here is a Word Record I took the other day of the main desk at Historiotheque 1:

- These images, which are digital designs which I made based on actual picures, are trying to show what I call The Geology of The Workspace; the worspace has many "stacks" scattered around most exposed surfaces, except for "sub-spaces" within the overall workspace which I need to remain free of clutter, as they are where I'm actually taking notes or painting or whatnot; everything else basically has stacks of different kinds, stacks of books, of paintings, of folders, of boxes of Refcards (SEE: The Stacks-Project); these stacks form what resemble geological strata, hence the name of Geology of the Workspace; here is another such Work Record, taken either yesterday or the day before, I can't really recall; the image is meant to have a relatively "unsaturated" or "subdued" color palette, in various colors that to me often make me think of ice cream, at least the lighter hues, like of slightly offwhite whites or light pinks, light yellows, and light blues; then the shadows are also rich in hues, of dark browns and whatnot; it depends on the lighting and the exact viewpoint that I am taking with any given work record field recording; here is the image in question, which I've already posted online across all the various platforms I contribute to daily in my interdisciplinary art-research practice:

- As I already stated, I've been making many field recordings, images and sounds, but I've also been writing a great deal, in public; writing in public is a bit of a nuissance in that I have to take out my pen and notebook and I have to try to take notes inconspicuously; inconspicuous because I don't want anyone to show interest in what I'm doing or pay any attention really, because that interest or attention will influence the actual writing process; I believe in working in a hermetically sealed environment with strong, thick walls separating the studio/lab and the outside world or milieu; I believe that one needs to erect strict boundaries between the two; it is rare that there is a direct communication between these ambient spaces or Atmospheres inside and outside the workspace;
- In any case, when I'm out in the field, I don't have the privilege of being invisible, so I am being observed if there are any people around; they might not be actually paying attention, but they do see me, even if only in their peripheral vision; this disturbs and perturbs the writing process, as I just said, as well as any data-gathering technique or medium I happen to use; even deep in the wilderness, the various animals will "see" me, which can also influence the field recordings and data-gathering processes; the only solution is to be as still as possible, and supple; that means that I sway gently when the wind blows against me, as any overt, intentional movement on my part, as I have directly observed, can also influence the recordings; I am just a silent witness, giving first-witness testimony to what's occuring in the environment; I call these events at times, sonic events, visual events, etc.; in essence it is a form of fieldwork, but I in any case haven't found anyway to solve or resolve the fact that I can be included in and so bias the recordings; if my presence causes people to respond by moving around me, or if say they stop speaking as they get nearer to me, or they change what they are saying, any chance basically in the overal Environmental Picture, can kind of "falsify" the recordings;

2026-06-19 03:07:25

- I've been really busy of late going through my personal archives and trying to downsize it, or what I have been calling "Dismantling The Archive"; I am envisioning what I call post-archival theory, which is where I think we are headed as a civilization; as I said above, I recorded a video of myself showing the process of going through folder upon folder upon folder of printed and typewritten as well as handwritten notes, recycling a bunch of stuff that I think is just extraneous noise; most of it is still good, though; folders have a birth date and a death date which encapsulate the lifetime of the folder; different folders have different lifetimes; the whole thing together forms a kind of historiome of the archives, if you will, to use an old term; that is to say, the specific shape of the changing surface of the archive over time in 3-dimensional space or 3D, forms a historiome, similar to the historiome of a population history; this historiome right now, for my personal archives, only really lives in my brain, with my exceedingly expansive long-term memory;
- I'm working on a new project and trying to figure out in what direction exactly I want to take my art-research practice, new projects and their underlying complex conceptual schemes; also, as I was saying above, I've been doing a lot of work in the field, especially note-taking; I have a separate physical notebook that I carry with me at all times when outside of the studio; I've been writing in a kind of aphoristic style similar to Nietzsche's, often just a single, punchy sentence; it's important, I think, to continually reinvent oneself as an artist or researcher, otherwise one rirks having things become stagnant;
- The sorting algorithms that I use when working through" the archive, as shown in my Spontaneous Sorting Algorithms in the Workspace video, are actual algorithms; the only difference between my sorting algorithms and those designed for computer systems, is that mine are manual; that is, I "process" data, information, or knowledge, in a physical way, in the physical space that I inhabit; I have spoken of this many times before, but I rely a great deal on context-dependent memory as well as state-dependent memory;
- I discovered that the brain and body together, the inward space or space experienced from the inside, has its own personal historiome;

2026-06-19 14:04:25
- I recorded a few more videos lately and uploaded these to YouTube earlier today; the first is on the subject of "DAY-TO-DAY OPERATIONS AT THE END OF SPRING:

- The second video is another of my "ATMOSPHERIC TONE" field recordings; another video is being converted and should be put online shortly:

- That's it for today; I wanted to write much more, but got carried away with cleaning up my workspace so that I can start clean tomorrow with a nice work surface to work on.

ANTILOG_14June26a

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ANTILOG_14June26a

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2026-06-14 12:33:51

- As always, I've been hard at work sine my last antilog; I've been doing a lot of work in the archive which I think I must have mentioned in my last instalment; I've still been regularly recording and publishing my Atmospheric Tone field recordings from outside the studio, as I say "in the field"; meanwhile, "in the laboratory", I've been as I said doing archival work, remasteringold recordings from 30+ years ago, putting them online as YouTube videos; I'm officially on hiatus until further notice, though I'm still actively at work, just not spending much time on social media other than posting a few things here and there;

2026-06-14 14:33:24

- I was interrupted by an important phone call; as I was saying, I've been making field recordings plus also eniching my understanding of sound and music, as though I wasn't knowledgeable enough; one must maintain one's "acquisitions", if you will, the knowledge and abilities that one has acquired; otherwise, it's kind of like muscle tone, it will be lost over time if nothing is done to maintain it; in any case, I have been rereading important documents on sound design theory, trying to integrate as much of it as possible at a deeper lever than ever;
- I was going to say before I was interrupted that I have also been recording some videos; here is something I just recorded and put online; I personally think this is one of my biggest accomplishments; I remember hearing Clayton Christensen say something maybe even more than once in interviews on YouTube, that you only really needed one good theory in life or in business or whatnot; this is my "one good theory", the General Theory of The Art Operation: 

- I also made another video much earlier on in the day, from a field recording I took at 04:21, a recording of what I call Atmospheric Tone, which I think I talked about the other day; I realize now that this is a practical realization of my design concept from over a decade ago of the Historiomic Hypervisor, which was a device to take "moral temperature readings", through the creation of "moraltempcards" in a "moraltempcard system";

- I'm actually working on a new project of late which I'm actually tentatively calling - codename! - The Anatomy of Aesthetic Problems; I've been going over my research notes and reading some critical texts on modern art, on modernism, part of what I'm calling Picasso Studies; reading some old books on Picasso that I've never read before and that are really helping me understand the individual; I'm rereading Soren Kierkegaard's Works of Love and just devouring it; as I said, I've been going over my old sound design fundamentals, what I learned in school about sound and sound design, audio recording/editing, all that fun stuff;
- I've been doing archival work at The Historiotheque; that's it for now, I've got a lot of stuff in the works right now, I just found out I had a copy (in French) of Kafka's Diaries;

2026-06-14 16:28:06

- I've been getting back into my study of the work of late William S. Burroughs, especially his work with the cut-up technique; I'm currently listening to a lecture he gave on the subject; my documentation methods are always changing, that is to say, I've got a pretty big inventory of methods that I've been integrating more and more over the last few decades and I'm switching them up a great deal; I don't like to have a routine that's too strict; I need to have a wide range of solutions and then choose what I need from the inventory; in the process of researching Burroughs and some other stuff, I made another field recording, or Atmospheric Tone recording:

- I want to write more about how I discovered that hyperreflexive design is actually a MODE of reflexive design; to me that's just an amazing discovery, an amazing thought; and I know it goes deeper than that; I can already see the "envelope" (I am starting to think of things in terms of envelope(s) more and more, but more on that at a later date; trying to do continuous review, sometimes adversarial but not always; I am extremely adversarial in that regard, though, it's why I do pre-mortem analyses of everything; my review is more retrospective than prospective, though, I mean technically I can't review the future; I'm still thinking about "being-in-time" as a concept; I will have to go back into that; I found a really great textbook I've had for years on Sonic Design; trying to read through it; it had like 12 bookmarks in different places.

ANTILOG_12June26a

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ANTILOG_12June26a

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2026-06-12 07:36:00

- 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 2 know 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 the Internet 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:

ANTILOG_09June26a

"THE ARTIST IN THE FIELD." Self-portrait by A.G. (c) 2026. All Rights Reserved.

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ANTILOG_09June26a

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2026-06-09 05:32:26

- I began writing another antilog on the 8th of June, 2026, but never got around to finishing it or publishing it; Here is what I had written at the time:

2026-06-08 05:10:06

- Yesterday, I accomplished quite a lot of stuff; I ended up recording quite a bit of music, new music, some for my "DAYBREAK" album, some just my general, run-of-the-mill ambient, experimental sound design; I plan on recording new compositions for organ and piano soon, for my Seasons of The Heart Project; yesterday was a good day, as I said I accomplished quite a lot, the day was slow but just in the right way;
- I did a lot of research early in the morning yesterday, printing out materials, reading and highlighting them and taking notes, you know the general pattern by now; I can't really print stuff out when I want to, since I'm usually working around 4am or 5am, which is too early to run a printer which is as loud as mine is; still, I manage, I just do the printing after 8am, generally.

- Today, I will treat of the many novels that I have designed over the years, and also why most if not all have been abject failures;
- Unbeknownst to me, there was a fatal flaw in the Novel-as-a-System, my proverbial novelistic phenomenology;
- Essentially, the novels I designed were far too grand in scale and scope; they would require me to write 1000 pages for each;
- I decided, then, since I have literally dozens of unfinished novels in varying states of disrepair, that I would just start documenting the design concepts for my novels;
- I will try to stick as much as possible to a kind of design science, even though I am not a scientist by any standards; I did get a degree in design, specifically Computer-Assisted Sound Design; I eventually came to apply the design principles that I learned, but to my writing AND my visual art practice; it was easy, it turns out it's the same thing for any discipline, mode of expression, or genre;
- In the past, whenever I architected my next masterpiece and begun working its theory and outline, the course of history itself, and much grief and loss, interrupted me and interfered with my work, in such a way that the work was abandoned and scrapped, and I was never to return to it; it ended in trauma and the death of the artist's soul; now my biggest fear is being interrupted and losing my soul again;
- There's something wrong with the system, the works are too grandiose; they should be encapsulated in much shorter pieces; the novel, such as The Nihilist or In The Name of Beauty & Truth, are Design Concepts; in any given day, I can only write one single facet or module for the (Cultural) Software Library; I can't finish a 1000-page novel in one sitting, but I can "write" ("design", the concepts of) 1000 novels in one sitting; there is a tragic flaw in the narratological system that must be patched, corrected;
- I began treaing novels/novellas as "databases-of-images" back in 1998, back when I was working on a concept of Textbook Art, textbooks which weren't really textbooks, but were a kind of "disciplinary allegory" where the textbook that you were ready of whatever discipline was actually a mystical allegory; it looks like, say, a Physics Textbook, except everything is slightly wrong as you get deeper into the text; then you start having epiphanies; I also developed the concept of a "Surrealist Textbook" and also an "Abstract Handbook"; I've written countless pages about these design concepts, yet was never able to get around to actually writing them, and its a really difficult concept in the first place; then I thought of just writing a massive Glossary of Art History where I would treat of every known concept in art history and art historiography, aesthetics, the philosophy of art;
- These days, I'm thinking less about these grandiose mega-projects much of the time as I try to focus on more quotidian things;
- Don't get me wrong, it's great, I think, to try to build a Cathedral of Dreams, to have a Grand Vision, an artistic vision that you work towards with what I call holy ambition for the sacred journey;
- It literally takes a microsecond to come up with the design concept for a new novel, at least when you practice what I call the novelistic phenomenology; that is, it's really the Novel-as-a-System, a kind of simulation one runs in one's mind; the actual novel itself can take on a multitude of forms; the design concept is necessarily pluraL, as it can take many forms; I think, however, that I'm just going to try to write a page per day towards these novel-concepts, working on many different novels on any given day; I figure if I can write 10-20 pages per day, in 100 days, that's at least 1000 pages, if not 2000; or another way to look at it, 10 pages per day is 3650 pages per year, and so in 10 years I could potentially have written 36,500 pages, which is a lot of pages, more than enough to finish the totality of my novels that are extant, and then some;
- I will expand, elaborate, and extrapolate on this later on, if not today, then tomorrow or the days that follow; for now, I want to finish documenting what I never got around to finishing on the 8th, as mentioned above; it has to do with some more developments in my workspace theory; I quote it at length here; please know that these were just my research notes from yesterday morning; I always start the day with research, research of different depths, of different densities; this research was pretty deep; know that they are merely in note-form, really rough notes; you have been forewarned; here are yesterday's notes:

2026-06-07 05:37:13

- THE ALGEBRA OF WORKSPACES: 
- Workspace theory, autonomous AI agent integration, and topological workspace matrices, bring to the reader cultural and technology markets; the primacy of the continuous spatial field (le continu, Fernande Saint-Germain, les Automatistes); a painting is not a collection of discrete, isolated objects, but the unbroken relational manifold where every single intervention dynamically alters the energetic tension of the whole; by treating history, memory, and creative output not as a linear timeline (a Euclidiean grid), but as a relational manifold, I am essentially practicing a form of historical topology (SEE Rosalind Krauss, "Grids");
- My farmework dictates how the intellect navigates the archives => A research log placed next to an analog painting creates a conceptual voisinage (neighborhood) that alters the meaning of both (montage, literary, cinematic); Fernande: Western thought was crippled by its reliance on the discrete, linear nature of words (The 1D bottleneck of words, SEE: a Critique of the Podcast Circuit);
- She championed the non-verbal as a primary, hyper-sophisticated mode of intelligence ("spatial intelligence" and AI world models); My methodology of polytextuality ("Reading-Without-Reading", "Writing-Without-Writing") => The nonlinear manifold + somatic rhythm => I do not read texts in a Euclidean line => my simultaneous, nonlinear engagement with multiple texts and digital assets treat literature exactly how Fernande Saint-Germain treats a canvas => I am flattening the discrete nature of books into a continuous, spatialized field of ideas => her later work emphasized that the perception of space is a somatic, affective act; we feel boundaries, enclosures, and densities in our bodies; my physical oscillation between workstations, texts, and canvas is literal, bodily enactment of Saint-German's topological trajectories; the movement of my body through the studio space mirrors the movement of the eye across the continuous canvas; Refcard-as-Colpème => its true meaning is entirely dependent on its localization within my taxonomic schema;
- Stop and write a Refcard, Stop and write a Refcard; carry it to the other station, transcribe + carry it back; Write another Refcard, ad infinitum;
- Because my system must scale across complex projects, the relationship between the refcards must be topological rather than rigid (elastic taxonomy!); they must be able to stretch, deform ("gently") and re-cluster without losing their core relational integrity; when I rearrange my Refcards, I am altering their voisinage (proximity) and enveloppement (containment, "containerization"), transforming the continuous field of my research database (dB-ART) without tearing the underlying conceptual fabric;
- The workspace manifold; delta-workspace theory and topology, delta-workspace theory studies the dynamic, shifting boundaries (envelope, permeable/ipermeable, canvas) of focus, tool integration (technique-paintings, or action syntax cards), and creation production within the physical and digital environment;
- Enveloppement (enclosure) => the psychological and somatic feeling of being INSIDE the creative process (or Historiotheque workspace); the workspace as a protective womb or container (black box + secular temple) that stabilizes high-level abstract thought => topological invariants => succession (order); the operational pathways, habits, and oscillatory rhythms that guide my daily creative movement thorugh the studio;
- The workspace is not just a room with desks, etc.; it is a dynamic topological manifold that expands or contracts based on the somatic state and cognitive load of the researcher; (*DANGER: I cannot stress it enough, that this kind of work can be extremely exhausting, or worse; people can become decompensé / disorganized because of lack of experience navigating such spaces; it is therefore necessary for the Chief Art Operator to "set the tempo" for each workday; more on all of this soon; (sooner or later).

- That's it for now; I had a prolific day yesterday, the 8th; I wrote and recorded 3 or more songs; it's hard for me to count them since to me it's all just one song, the same song, it feels to me, that I play over and over across time and space, and also the truth of the matter is the music lives inside of me, welling up from within, as though I had a "spring of life" inside me in the inward plane; later this morning, I'm likely going to go to a family member's house to write and record some musical compositions for organ and piano; I'm falling asleep, as I have said multiple times, and will say many times more, I will come back to this sooner than later; I always follow the trail of breadcrumbs back to where I left off the last work session; tomorrow morning early in the morning, I will do some more review of the previous day and previous week, month, year; Stay tuned!

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".