ANTILOG_25June26a

 

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ANTILOG_25June26a

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2026-06-25 00:32:26

- I wrote a pretty extensive antilog post yesterday on this blog; I went over everything I did since I started my official Spring Retrospective a few days ago; I had already begun doing a retrospective of May, 2026, at some point in June, I can't remember the exact date;
- This latest experiment in logging, documenting, and archiving has been extremely fruitful, fruitful for my art-research practice as well as for myself personally; it permitted me to go deep into the archives and make all sorts of amazing discoveries; I also feel that I was able to process some more difficult periods in my life in the last several decades of professional activity; I tend to focus only on my work and workspace in what I publish online, but it remains true that I am an individual at the heart of it all, I am a person; I go through my own "seasons", and they aren't always jolly or what I have been calling "Seasons of Joyful Being";
- As far as the archives are concerned, the next phase in its development will be to implement better standards, actual professional standards in archival practice; that is, I want to improve the way I create filenames, also I might be changing the format of my timestamps so I can order lists of files in an optimal way; I am creating these "filelist_YYYY-MM-DD.txt" files which I include now in my important file folders; these lists are organized so that the "filelist" has more recent items at the top, older ones at the bottom, and I show the filename followed by "Date modified"; that's all I really need to know to be able to "reconstruct the timeline" of when I created those files; that way I can easily search for the timestamps of any given work that I may want to refer back to in writings, or in video discourses, or whatnot; I also will try to include a kind of improvized "data dictionary" in my folders that describe the formats that I am using; more on this at a later time.

2026-06-25 02:20:20

- I have written quite a bit about my Atmospheric Tone field recordings; below, I am embedding the latest of these that I have published on YouTube since the last ones I referred to here in recent antilogs; I continue to work out my Atmospherics Theory; at the moment, I am working out the actual theory, what it is trying to say, what problem it is tackling, what the "job" is that it does; it has a lot to do with my fieldwork/field recordings, but also to just a conception of work and life in terms of atmospheres, of the overall "World of Sound" I call it, of any given ambient space;
- I realized the other day that every location has a unique environmental soundscape that changes constantly minute-to-minute, hour-to-hour, day-to-day, and at other time scales; so at any given, specific location and time of day, you get a unique sound; the birds, for instance, are in different numbers, of different species; the time of day matters, are the birds feeding or just socializing?; season or time of year matters as well, are they in their respective mating seasons?; also, it matters what the environing sounds are, the human sounds, called "anthrophony"/"anthropophony", or non-biological, earth-generated sounds, called "geophony"; the different ambient spaces in ecological terms are niches and every niche has a unique sound, and all the unique "soundmarks" if you will, create the "music of the environment", as a kind of musical composition; I got this from R. Murray Schafer, I believe, the "world soundscape"; here is one of my latest Atmospheric Tone field recordings:

- The second Atmospheric Tone recording I want to share with you was recorded a little further up the hill than strictly the Old Village; I was on my way to a family member's place to bring them the newspaper and some bottles of water and had to wait a few minutes before the grocery store opened, so I found it an opportune moment to make a fresh, new field recording;
- Atmospherics Theory treats of many subjects, one of which to me is of critical importance and relevance to my interdisciplinary art-research practice, namely, the fact that our inward space has its own "atmosphere" with a unique "atmospheric tone", similar to the ambient spaces I visit outside the studio/laboratory; also, the inner milieu connects directly to the outside one in that we are completely immersed in the "World of Sound"; our hearing is not like our vision in that you are not hearing the sound of the environment as though from a distant point of view; you are not like a observer observing with a sort of distance, I don't know how else to say it; the sound is immediate, the acoustic environment is immediate; the concept though is that inner and outer world connect and form a single atmosphere I call a "multi-space"; more on this at a later time; in any case, here is the second Atmospheric Tone video:

- The latest video I just finished uploading to YouTube is basically an overview of summaries of the transcripts of my previous 13 or more video discourses; it is called "Hyperreflexive Design Retrospective: Spring, 2026"; I will be using these types of "Retrospective Videos" in the future as part of my documentation practice, what I call The New Documentation, which I will try to get into at some point in future antilogs; this is all becoming an integral part of my continuous review process, with what I have otherwised called Hyperreflexive Design; it's part of the "hyperreflexive" aspect of the basic methodology;

2026-06-25 22:57:22

- I was able to download my data for the Google Keep app using Google Takeout; I was therefore able to extract all the text from the Keep notes that I created in March, April, May, and June thus far; then I created PDFs of each and uploaded them into a Gemini conversational thread where I asked it to give me detailed, thorough, and in depth summaries of the contexts of the documents I uploaded; then I copied all of those summaries into separate text files; now I have yet another "time series" or "timeline" of documents I produced last Spring, 2026, that I can use as I continue with my Spring Retrospective for Spring, 2026; in any case, I have mostly already done my Spring Retrospective, with the summaries I created of the video transcripts of all my video discourses since the beginning of May, 2026, as well as the video discourse I recorded and published, which I included in this anilog above;
- On another note, I realized the other day that I suffer from what is called Low Latent Inhibition (LLI), which "is a cognitive trait where the brain filters fewer environmental stimuli, causing individuals to continuously process a larger volume of irrelevant sensory and mental information." (Ref. AI OVERVIEW). It also said that "Depending on a person's intelligence and environment, it can lead to either heightened creativity or severe sensory overload." [Ref. "AI OVERVIEW"];
- This explains why I can never stop hearing and how my hearing and my brain's auditory centers are constantly analyzing ALL SOUND that comes through my ears; it's why I can't ignore the sound when people are talking and how I can't concentrate on anything when I hear human speech, even often when it's just the lyrics to songs playing on my speaker, computer, or radio; even when I'm in a room or hall or whatnot with lots of people talking, I hear every single conversation as though separately, but all combined into a single AUDIO STREAM that my brain also processes at a very high level; I suppose that my brain just doesn't have any FILTERS when it comes to the overall audio stream coming through my senses, or what I like to call the "World of Sound";
- I can also concur that in my case it leads to "heightened creativity" though a lot of the time, it also can lead to "severe sensory overload"; in any case, it mostly seems to be with my hearing, my sight doesn't tend to be that way, though sometimes it is in "episodes" that I have called "visual disturbances" or VDs; that's when I see absolutely every single detail in the visual field, stuff that the average person and even myself the rest of the time don't see; I literally see the "reality pixels" as I used to call them when I was working on writing my Exhibition in Tonal Cinema novellas;
- This all fits into my Atmospherics Theory in a powerful way, as it explains why I am so attentive to and aware of the "atmospheric tone" that I keep talking about; more on this at a later date.

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.