ANTILOG_28July26a

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ANTILOG_28July26a

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2026-07-28 08:51:00

- I may have mentioned this already, but I was working on a coding project with a friend for a "query engine" for a project of his and I ended up creating something pretty good with the help of Gemini; I had created many different Python scripts using AI, but never a full-blown app; I had assumed that it would take too much code and I wouldn't be able to get a full-fledged app in a single response, I would have had to create different prompts for different sections of the app and then would have to put them all together in my IDE; the AI actually wrote a complete app with a single, sophisticated Python script; I was thrilled;
- As you probably know by now, I've been obsessed with this concept of a "Refcards-System" for well over a decade; as I was testing the query engine, I realized that I could use it as the backbone for my Refcards-System; that's what I did, I used it as the foundation for this system and after 7 hours of painstaking labor, I had a working Python app for that system; now I can use it to take my "labnotes", which I have shared previously on this antilog;
- Here is the first new labnote that I took using my official Refcards-System; it was for THE CHRONOTOPIUM-PROJECT SERIES (of paintings):

- Now what I think I'm going to do is translate the Python script into C# or something that will be easier to create an actual executable that can be launched just by double-clicking the .exe file; I know I can do this in Python with PyInstaller or whatnot, but I find it too complicated; this is going to force me, in any case, to install either Visual Studio Community Edition or just plain, vanilla Vscode; in other words, I'm getting into computer programming again and that's a pretty good thing, I think;
- I learned to program/code in Python I think it was 13 years ago, maybe more (memory in this case is proving difficult for whatever reason); over all of that time, though, I only ever really got to an intermediate level in terms of programming knowledge and ability; frankly, I didn't really code that much, oftentimes going several months without any coding whatsoever; I took countless MOOCs specifically on Python programming or that involved Python programming; I got pretty good, but never at the level I would need to actually work in the field as a programmer; what I discovered, though, is that I'm not really made for programming; I don't enjoy it very much; I mean, I love it when I build something and it works, but it seems that 99% of programming is finding bugs and troubleshooting and whatnot, and I don't like that at all;
- I had a friend who was an engineer who helped me learn more about actual software development with a side-project he had in Python; he told me that to program, you have to love solving little puzzles; that's precisely it, I told him, I hate puzzles; there is a sweet spot where the challenge is hard enough that it keeps me engaged and not boring enough that I lose interest, but in my experience, in practice, I almost never found that sweet spot; now with AI, I can say that I have found that sweet spot, but it still takes hours upon hours of hard work, which the last time I did it, with my Refcards-System, totally burned me out; I slept for like 4 days, all day long, just to recuperate, and I still haven't recuperated 100%;
- Here is another labnote I took the same day, this time on the "Official Refcards-System Version #001", after I had finished getting to an actual working version of the Python app:

2026-07-28 10:54:54

- The painting at the very top of this antilog is I think no. 9 in a series I started at the end of last month and the beginning of this month called THE CHRONOTOPIUM-PROJECT SERIES, which fits into a larger project including new music/computer-assisted sound design and a novel called THE CHRONOTOPIUM: A STORY OF ALGORITHMOGENESIS, of which I have spoken a good deal here before; I haven't published the entire series online just yet; I'm working on it, though; I just want to write a piece dedicated just to this painting series and I guess my standards are very high, as I want it to be only my best writing; sometimes a series needs to "age" a little, though, before it can really be written about in any depth or detail;
- There's another series of paintings and drawings as well called ANATOMY OF AN AESTHETIC PROBLEM which is a kind of subproject or subseries of THE CHRONOTOPIUM-PROJECT SERIES; at least that's how I'm viewing it at the moment, though it's subject to change; I recently came up with another project or series which is a kind of subproject/subseries this time of the ANATOMY OF AN AESTHETIC PROBLEM series that I want to call "AMODAL SCHEMAS", which has its own unique concept I'm still working on; the ANATOMY OF AN AESTHETIC PROBLEM is exactly what it sounds like; it's a deep analysis of aesthetic problems, an anatomy of its various facets, what have you;
- In any case, here is a labnote that I took on this series, using my newly fashioned Refcards-System (*ERRATUM: The labnote posted above, about THE CHRONOTOPIUM-PROJECT SERIES of paintings, was NOT created immediately after creating my new Refcards-System, but roughly 10 days before; I just hadn't published it yet, I don't think, so included it in this antilog post):

2026-07-28 20:19:35

- This year was officially the 25-year anniversary since I first started my first major interdisciplinary art-research project, The History-Project; it was actually this month in 2001 that I started a new series of paintings that became an integral part of that project, which included dozens of songs for guitar and voice as well as sound design, poetry, fiction, and non-fiction (the research part, all in the humanities); I plan on celebrating over the coming months and doing a kind of quick Retrospective of those 25 years with regard to The History-Project; I want to commemorate it with Images, Sounds, and Words, as I do with everything else, my three main "modes of expression" or "modalities";
- I want to look at the different workspaces too, that I've worked in over the last several decades; before I moved to the Notre-Dame-de-Grace apartment, I had only really had a garage that I painted in while I lived in the basement with some family members; I had quite a bit of space and could work on numerous paintings all at the same time; it's when I really started working in series; I was painting in oil at the time, at least most of what I did was oil, and some watercolors and pencil drawings, pastels, charcoals, etc.; I was also writing and recording a lot of music, several albums' worth; but it wasn't until the summer of 2001 when I moved to Montreal (NDG) that I had my very first art studio; I had an entire room to myself, and a big-enough room that I could do whatever I needed to do; I could scale up and paint ten paintings at once in a series, or I could scale down and just work at the easel on one piece at a time; I was hyper-productive, extremely prolific, painting hundreds of paintings in 4 years;
- To be honest, sometimes I don't know what my merit is in all of this; the concepts for my projects and series kind of just fell out of thin air; I don't remember really inventing much of anything; I realize now that I've suffered from a really bad case of hypergraphia, where I have an intense compulsion to always write everything down or make marks on canvas with a paint brush, which to me are both forms of writing or else leaving marks, making marks; I create out of a compulsion to create, so for me I never knew anything else; as far as I know, I started creating in my first years of life as many toddlers do and I just never stopped;
- For most of my life, I never really learned anything else; in the late 1990s, in the basement with the art studio in the garage, I decided I wanted to "inform" my art practice, so I started doing research for a series of short novels or novellas that I was writing called the Exhibition in Tonal Cinema; that was the first interdisciplinary art-research project, but The History-Project that it kind of bled into, was the first LARGE-SCALE interdisciplinary art-research project; I started studying art history more formally, then philosophy; I was also reading dozens of novels of some of the world's best literature from many parts of the world, though probably mostly the United States and Europe; for some reason, I never really read much Canadian literature, though I know we have a very deep literary tradition;
- Below is another labnote made with my new Refcards-System, this time about something I believe I wrote about recently, the whole concept of writing a PHENOMENOLOGY OF PAINTING; it all started, as you may remember, with me studying modernism again as an art movement, literary modernism, modernism in painting, other arts, a lot of Erik Satie studies as well; I ended up making a series of 5 paintings and drawings of Picasso; then I made portraits of Erik Satie; that series was called ANATOMY OF AN AESTHETIC PROBLEM; I took up where I left off in the early 2000s when I made a formal study of Cubism that I called my "Cubism Studies"; I also reread a book that I love to read everyone in a while, called Baroque Reason: The Aesthetics of Modernity by Christine Buci-Glucksmann; then I got into some writings by Walter Benjamin that I also hadn't read in a long time; I read his essay on Surrealism, I looked at all my old art history and art historiography notes, my Picasso papers; I also painted a portrait of Maria Callas in this series and was planning a portrait of Walter Benjamin himself;
- It was then that I decided I wanted to do a phenomenology of painting, which led me to studying the Bateau-Lavoir in the early 1900s in Montmartre, Paris, France, where Picasso lived and had his studio for many years; at first I just wanted to do a kind of pure phenomenology of painting; I recorded some audio of me making verbal sketches of the experiences that I was having while starting a painting; that didn't quite cut it, so I started to do a lot of research for this on phenomenological aesthetics, those kinds of subjects, but ran into a slight problem; every time I thought I had an original research question and thesis or theses, I found works, books, essays, where people had already done that exact study; I had to keep scrapping my idea, abandoning my notes, and taking off into another direction entirely;
- I came to the Bateau-Lavoir-as-laboratory; I wanted to take my Workspace Theory from previous months and apply it to the Bateau-Lavoir studios as workspaces, as the whole thing as a sophisticated Art Operation, where I would apply my General Theory of Art Operations; the Bateau-Lavoir thing became a book of stories called Washboat Stories, the project kept transforming before my eyes into so many different series and subseries; it was just raw inspiration in every direction to infinity;
- In any case, a lot of this I've written about before, so I will just leave it at this for now and share one last labnot, about THE PHENOMENOLOGY OF PAINTING experiment (Remember, these labnotes are always documentation for actual experiments that I run "in the lab"):

- "Historiophany" is actually a book of short stories that I began writing when I was doing all the research on the Bateau-Lavoir-as-laboratory, which began with the phenomenological investigation that was thwarted because someone already did the same research; "Historiophany" is simply about historiophanies; each story ends with a historiophanic experience that the main character has; I will be writing about all sorts of historiophanic experiences, with maybe some nonfiction writing mixed in; this should technically also fit within the ANATOMY OF AN AESTHETIC PROBLEM project, series and subseries.

ANTILOG_13July26a

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ANTILOG_13July26a

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2026-07-13 05:45

- I've been pretty productive lately even though I haven't written any antilogs; I've been working on a few projects, have been painting a series for a project which I already mentioned called THE CHRONOTOPIUM-PROJECT, which also consists of a new novel called THE CHRONOTOPIUM: A STORY OF ALGORITHMOGENESIS; another project I start back in the spring is called ANATOMY OF AN AESTHETIC PROBLEM; within that project, I've worked on a series of paintings as well as some music and a new piece I am trying to write on PAINTING-AS-PHENOMENON or THE PHENOMENON OF PAINTING, which is what it sounds like, a phenomenological approach to making a painting, which I'm trying to formulate as an actual academic paper;
- I also started working on a model I'm calling Operative Historiography which is a new approach to art history and art historography; the idea is to focus on art movements "from the inside", is an endogenous approach rather than an exogenous one, which would be a study of art movements "from the outside"; basically, I want to use my expertise in the studio arts to try to interpret art movements, styles, genres, etc., from the perspective of the artists who worked in studios, from the perspective again of the actual work in their actual workspaces; I find that art history and art historiography tend to just list facts and also often plain anecdotal histories, but never really talk about the actual workspaces and the experimentation that occurs there; to me, this is almost entirely lacking in these disciplines and my new Operative Historiography is seeking to fill that gap;
- For the phenomenological essay on the art of painting, I recorded several audio recordings of myself actually starting a painting, trying to log everything in meticulous detail, from the perspective of the actual lived experience of painting; I then took those recordings and listened to them on the computer; then I had them transcribed by an AI service called audionotes; then I fed those into Gemini and asked it to turn the audio notes into a more formal essay-structure, asking it to make it of a particularly phenomenological variety; then I took some of that and created a robotic voice in FruityLoops and made the voice read out a bunch of that text, accompanied by original music; I created a .wav file with that piece of sound design and listened to it; then I went back to the actual painting;
- I realized that this approach of conversion if you will, from one format to another, from one medium to another, one discipline to another, is at the very heart of what I do as an interdisciplinary artist-researcher; it's here that I launched another project tentatively called THE METAMORPHOSIS-PROJECT, though that name already exists for various projects online, meaning I may need to call it something else, may just call it simply METAMORPHOSES; the basic concept is the concept of how art to me is essentially that, it is made up of transformations, metamorphoses; I don't know why I never thought of it in this way before, because that's really what it is; in the phenomenology of a painting, that's what I realized; I realized also that what I engage in is really a refinement process; I could just sit down and write an essay on the phenomenology of painting, but instead, I take audio notes, I transcribe them, I feed them into AI, I have a robotic voice read it out with music, I keep transforming the basic data into other forms, other formats, across many disciplines; it's almost akin to a kind of data transformation as well as a form of data wrangling;
- Last month, I think it was, I was working on a series of portraits within the ANATOMY OF AN AESTHETIC PROBLEM series; I made maybe 5 different portraits of Pablo Picasso, another 4 or 5 portraits of Erik Satie, a portrait of Maria Callas, a few other portraits; here is one of the final versions of my portraits of Satie, which will be a subseries within the series of the ANATOMY project; I am calling my works on the subject of Satie, IN SEARCH OF SATIE, which include and will continue to include works of music inspired by his work, or actual renditions of his work in my ambient, experimental style of sound design:

- I'm planning on making an entire series of collages like this, not merely of Satie, but of all sorts of other people, including some self-portraits; the art of portraiture is something I've been doing all my life, mainly self-portraits since I never really had anyone who could sit for me as a model; I was once told to stop making portraits as my portraits were not good; I took that as a reason to keep making portraits, to even up the ante on the portrait-making enterprise; whenever I receive negative criticism like that, when someone tells me I SHOULD NOT do something in my art practice, I do the exact opposite of what they said; often I have been told that working on cardboard is bad because pieces of cardboard are worthless; I started almost always working on cardboard and have since made hundreds of works on cardboard which are all in my archives; we'll see what is valuable in the end, whether my pieces of cardboard are "worthless" when I'm in my 70s or 80s, should I be lucky enough to live that long; here is another portrait in the same style:

- I've been taking long morning walks every day or almost every day; these are my morning constitutionals and I like to take photographs, make audio recordings, or else videos of myself giving short discourses; I have also done some urban sketching of the Old Village & environs; these are meditative walks in nature much of the time, in the cemetery or on the bike path which are in a natural setting; sometimes, though, I'm just walking around the Old Village, which is very small, but full of so many beautiful scenes; every walk reveals new aspects of the Village that I had never seen before; I especially love the colors in the early morning light, everything seemingly being bathed in a light that has a blueish tint to it;
- I've also continued making my field recordings of what I call Atmospheric Tone; it's the sound of an ambient space outside the studio which I find gives me a "moral temperature reading" I like to call it; for me, these especially in the early morning give me a kind of "temperature" as I just said, of what the day is going to look like, what the workday also will look like;
- I've also worked on many new concepts in my Historiomics framework, which is kind of a fictional pseudo-science which I invented for a series of novels I was working on, something I had the characters talk about in their dialogue; THE CHRONOTOPIUM novel is actually the third instalment in a series which is going to be a trilogy; the first two novels in the series were THE HISTORY-PROJECT and THE ARCHIVES-PROJECT novels; my new novel-writing enterprises have led me to work on a document I am calling ABSTRACT CHARACTEROLOGY, which is a characterology in the style let's say of a Reichian characterology, except it's abstract; in essense, it has to do with all of the characterological sketches that I've made over the course of my 30-year career as an author of fiction; the same basic characters keeping coming back around, keep haunting my consciousness; I want to also build up an actual characterology which will define and describe these abstract characters; I discovered that a fictional character is basically a kind of "naked problem", that each character is defined in large part by an aesthetic problem; the development of the character in the prose is really just trying to "find elegant solutions to (the) aesthetic problems";
- I've also been working on an Important Update to my Official Declaration of Production-Year 2028-2029, which I published not too long ago, back around the middle of May; I also want to add an Important Update to the new Official Release of The Historiotheque which I published last month, I think it was; I'm always working on these two types of documents, the Official Declarations and Official Releases; they are fundamental documents in my practice that aim to make my work dependable, as I always stick strictly to what I've said in those two documents, which I publish regularly; I generally only make on Declaration document per year, and publish Official Releases whenever there have been minor or major changes, or just patches, in The Historiotheque as Cultural Software;
- I've been thinking of writing a new kind of document I want to call a Prospective (not to be confused with a "Prospectus", though it may resemble this in some ways); for instance, I want to write a document called something like Prospective 2027-2037 or something like that where I go over the "prospects" of what this period should in theory be characterized by in my art practice; these documents will differ somewhat from the Official Declarations of Production-Year in that they will not necessarily consist of the "forward-looking statements for potential future stakeholders" that the Official Declarations consist of; no, the Prospective documents will be more of a general possible timeline or trajectory that the practice might potentially follow; I will paint the "big lines", like the "arcs", not necessarily specific projects I should be working on in that period, as it's kind of impossible for me to tell you what I'll be doing in 2037, as I'm not even sure I'll still be painting then and doing my art-research, or whether I'll even be alive (though I also don't know that I'll be alive in Production-Year 2028-2029); in any case, I'm working on design concepts for these Prospectives;
- I've also continued to write and record music and sound design; I've been recording compositions for piano and organ as part of my Seasons of The Heart Project, which as I've repeated endlessly, is a year-long secular liturgical song-cycle; it is meant to contain hundreds of musical pieces to accompany people all through the year, with music for any and ideally everything situation one might find oneself in; often they have to do with specific moments in the day and in that sense are kind of a form of usical haiku; I'm not exactly a Zen artist, though there are definitely some similarities in a lot of my musical work, which tends these days to be pretty simple and minimalistic; here is a piece I wrote a while back called Solitude, a version of which I recorded recently on the piano; this one, however, is less for the Seasons of The Heart Project and more for a new album I've been working on of late, called DAYBREAK:

2026-07-13 08:30

- As mentioned in the above, I've worked out some new concepts for my Historiomics framework; I've given myself the permission to ask Gemini to provide short definitions of the concepts; I gave it several pages of my own original notes on these concepts which I have written over the last week or so and asked it to extract their definitions; I try not to publish content generated by AI without any interventions, but am making an exception now because it is much quicker than trying to define them myself, though I do know what the terms mean; anyway I think this will do just fine for now, until I can sit down and write more about the specifics of the concepts I've invented;
- Also, a note on the use of neologisms in my work; I only began inventing my own terms in my philosophical writings when I came across concepts that had no name in any of the source materials that I have studied and researched; if there were existing concepts and terms that refer to them, I absolutely would have used those; I would have preferred using existing terms, but as I said, since there were none, I had to invent them; at the same time, I've been trying to limit my use of all of these "historio-" terms, and even don't really like speaking in terms of "Historiomics" anymore, as a fictional pseudo-science from my trilogy of novels; in any case, here is a list of the new concepts and their definitions, generated via machine intelligence:

 1. Historiomania

• Definition: An obsessive, compulsive over-investment in historical narrative to construct collective identity.

• Dynamic: The Primary Inflation of historical consciousness, where a society ceases to view the past as a messy sequence of cause and effect and instead elevates it into a sacred, immutable myth. It directly fuels ultranationalism.

2. Autohistoriophilia

• Definition: The narcissistic idealization, adoration, and idolization of one’s own personal or national lineage.

• Dynamic: The Secondary Inflation stemming from historiomania. It is the personalized psychological vanity that blinds an individual or culture to their own historical flaws, rewriting the past as a flawless epic of self-justification.

3. Historiophobia

• Definition: An acute, paralyzing dread of history, characterized by the existential anxiety that the past is an inescapable prison or an unappeasable judge.

• Dynamic: The psychological retreat from time. It represents the terror of a false historiophany, where the weight of historical trauma and accumulated guilt paralyzes a culture's ability to act creatively in the present.

4. Historioclasm

• Definition: The violent, destructive impulse to physically smash, erase, or reset the historical record in a desperate bid for liberation.

• Dynamic: The active, behavioral climax of historiophobia. It is a radical attempt to "murder the ghost" of the past, often manifesting as cultural iconoclasm or the forced implementation of a fictitious "Year Zero."

5. Historiophany (True vs. False / Logopathic)

• True Historiophany: A healthy, grounded revelation of historical truth; an open, clear-eyed reckoning with the past that brings wisdom and integration.

• False / Logopathic Historiophany: A delusional, haunting manifestation of history that feels profoundly "wrong." Like the Uncanny Valley, it occurs when a culture interacts with a sterile, automated, or propagandized simulation of the past—a dead narrative artificially reanimated to control the present.

6. The Phantom

• Definition: The raw, unmediated, and unhealed trauma of time passing without meaning.

• Dynamic: When history is stripped of its healthy teleology (the hopeful belief that we are progressing toward something better), it curdles into a ghoulish specter. It is the terrifying realization of infinite, empty temporality—manifesting as a "shrieking voice over the dark hills" that haunts a culture with the sheer weight of its forgotten dead.

- I think that today I will go print out some materials at the library since I the cartridge for my new printer has run empty; it's expensive to replace and doesn't print out even remotely the number of pages it says it's supposed to print out; I think it said it should be able to print something like 1600 pages and it only printed a small fraction of that; so that's why I'm going to print things out at the library instead, even though it costs 25 cents per copy, which is an exorbitant price;
- I also want to work some more on my PHEMONENON OF PAINTING piece; I will start a new painting and go through every step of the process, moment-to-moment, in meticulous detail, from a the phenomenological perspective of the "lived experience of painting"; I realized that I was in a kind of state of apprehension before the painting the other day when I did a first pass on the phenomenology of painting work; I was at the canvas, or piece of cardboard in this case, and I came face to face with the "problem", what I called the "naked problem" of painting; there was a certain feeling of uneasiness and uncertainty, that sort of thing; I want to call it a "problematique", it's just it's of an aesthetic kind;
- I also have some new pieces of music for piano and organ that I want to turn into videos and post to YouTube, which I will then post on social media and potentially in this antilog or the next one in coming days or weeks; there is also THE CHRONOTOPIUM-PROJECT SERIES of paintings that I have continued to work on since my last antilog which I want to write about, share the actual paintings as well; I am on painting no. #009 in the series; the series is coming out nicely and has been marked by a nice divergence, meaning that the series itself has diverged, both physically as a work and as a concept also, the concept of the series; it's great to be able to witness this first-hand, how a series develops over time, how it diverges, converges, everything; I just hope I can turn it all into a phenomenological essay; I will try and we'll see where it goes from here; I have a lot of documentation to do about all that I have talked about today on this antilog; I find the whole process of continuous review/continuous adversarial review as well as what I call the "logging, documenting, and archiving" process or practice, is an excruciating, paint-staking process; it really does go at the speed of words, which has an important bottleneck, since it is a process of "reducing", if you will, a high-dimensional experience into an essentially 1-dimensional medium, of writing; as I worked on the phenomenology of painting the other day, I came to see the painting really as a kind of "unveiling" or else a "revelation"; essentially, I am only a witness to this unveiling and revelation, what I have come to call a "primary historiophany"; there are also "secondary" and "tertiary" historiophanies in my model which I am tentatively calling Operative Historiography, an endogenous form, distinguishing/differentiating itself from a more exogenous form of historiography; actually, I was reading Maurice Merleau-Ponty's 1945 essay, "Cézanne's Doubt" from his work "Sense and Non-Sense", which is considered a foundational text of phenomenological aesthetics, and was seeing how my work differs from his; I will be returning to Merleau-Ponty's essay, though, in my own work of what could essentially be considered a similar form of phenomenological aesthetics;
- Moreover, I've been making countless observations of nature, of the external world, especially the world outside my studio, The Historiotheque; these days it mostly has to do with color; I have a close collaborator who has been a visual artist/painting for like 70 years and we've talked about color a great deal over the years; his observations on color harmony have helped me a great deal in my practice; I notice now that I maybe hadn't developed that aspect in my practice, even though I've been painting for the past 30 years; color to me is subjective, in the sense that I attach certain emotions, if you will, to color, my own meanings; when I paint, when I mix color I mean, I do it in an intuitive manner; I should maybe say color is intuitive for me and not necessarily subjective, intuitive being a better term to express/communicate what I mean; this is all going into my PHENOMENON OF THE ARTIST'S WORKSPACE/PHENOMENON OF PAINTING work, which essentially is part of my ANATOMY OF AN AESTHETIC PROBLEM project, which I maybe already mentioned in the above.

2026-07-13 15:51

- I went to the library to print out some documents I needed in physical form to really dig into them, be able to highlight important passages; I then read through them when I got back home, taking ample notes; after that, I started researching for my PHENOMENON OF PAINTING essay, trying to break down what I need to do exactly, how to structure it, what source materials to use as reference materials or #Refmats; So far, I've got severa key texts by Maurice Merleau-Ponty, Martin Heidegger, and Jean-Paul Sartre that I need to read, some others, especially by Mikel Dufrenne ("The Phenomenology of Aesthetic Experience") and Nigel Wentworth ("The Phenomenology of Painting"); I also am finding Jennifer Anna Gosetti-Ferencei's book, "The Ecstatic Quotidian: Phenomenological Sightings in Modern Art and Literature" is really relevant to what I'm trying to do phenomenologically, with my concept of historiophany and all that; I have 20 or so books I want to read for this project, though I will start writing the actual essay long before I read all of these works, going on what I've already researched on the subject; the critical idea here is that I do something unique, that I contribute something to the field, to the discourse, even if it's not necessarily earth-shattering, visionary genius;
- In any case, I find that I really have my work cut out for me on this particular project, which technically is a subproject of the ANATOMY OF AN AESTHETIC PROBLEM project, which in many ways is maybe more of a Program than a Project; I can maybe get into that later, the Program/Project link in my art-research practice (TL;DR => I am in the process of attempting to organize my dozens of projects into separate "programs" that advance the strategic aims of The Art Operation at The Historiotheque);
- Before I go on to do some of the reading I need to do for the PHENOMENOLOGY OF PAINTING, here is a piece of music I wrote recently after witnessing a sparrow die in mid-flight and crash onto the street, right before my eyes; I decided to write a piece of music that became a kind of REQUIEM for it, though it is somewhat joyful in mood; it wasn't a REQUIEM outright, it was meant as A PRAYERFUL MORNING PAUSE and designed as light; it was an afterthought, though, that the prayerful part had to do with what I witnessed and could be a REQUIEM, though sometimes a song is just a song and doesn't have a deeper meaning; here it is in any case:

ANTILOG_24June26a

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ANTILOG_24June26a

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2026-06-24 02:46:12

- 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 all productive 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:

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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.

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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:

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[WORK_RECORD] - The Refcards-Project. Sunday, May 31, 2026 / 11h34.

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2026-06-07 05:37:13

- After I left off in yesterday's antilog, I maintained the same oscillatory pattern and rhythm as usual in the workspace; I took tons of important notes on Refcards, printed research + my own previous antilogs to situate/orient myself in my workday and catch any errors in the text itself; I went for a second walk, not a long one; later on, I met with my main collaborator K. for a video call of just over an hour, recorded a new video presentation, read a little, and went to bed;
- I was worried at one point yesterday that I was unable to finish the day's work within the confines of the workday, but found that in the end I was able, though sometimes I come close to getting behind in my work; losing track of my "position", if you will, within the laboratory, is something I try to avoid, my orientation, but really, truth be told, I lose my bearings constantly; the thing is, I immediately find myself again in a powerful, sudden realization; the workspace was designed for this, to always find the thread when I am lost; it all comes back down to the configuration of the workspace and the exposed surface; plus, the archives were designed with findability in mind; I call it The Art of The Found;
- I also recorded several audio notes while outdoors "in the field" yesterday and some videos I ́posted on Instagram and threads; about finding myself again in the workspace, the workspace is also designed for serendipitous discovery; it's the main reason I kept an archive of all my artwork and research in the first place; I'm always finding what I call "prior art", always the perfect piece at precisely the right moment; yesterday I was looking at some pages I wrote on the typewriter in November, 2009, and had the sudden realization that I've been working formally on my workspace theory at least since then, by reading documents I didn't even remember I had written; it consolidated and strengthened my belief that I am not in fact crazy, that I have a rigorous and comprehensive, experimental design workflow management methodology that works seamlessly and that is perfectly adapted to the kind of interdisciplinary art-research work that I've been doing for decades, in The Art Operation at The Historiotheque;
- Right now I'm finishing my morning coffee and reviewing the work I did yesterday + also reviewing the last week's worth of work, as part of my weekly and monthly retrospectives; I also do "seasonal" retrospectives, biannual, yearly, and ones for various phases of my life and career; I am realizing how far I've come over the years, what amazing progress has been made;
- As continuously go in and out of the archives, I realize how much progress I've made, how prolifuc I was, but also had some memories of when being critized extremely harshly in my career as an artist; people didn't understand what I was doing, told me that my work was incoherent; It's alright, everyone's entitled to their opinions; 
- I've also had people write graffiti on my artwork or otherwise deface it, other works were stolen, and entire collections were destroyed either by "iconoclasts" I guess you could call them, or else water damage; other work, especially all my works in larger formats, had to be abandoned by the side of the road because I couldn't fit them in the truck I had rented for moving my art studio to another location;
- I've lost so much work, that has to be the reason I spent so much time refining and re-refining my archival work, my work methodologies in general, so that that never happens again, because if I am being frank, it was quite hurtful, to lose all of that stuff, and to be called incoherent and what have you;
- I'm now going to print out and review these notes and then maybe make some music on the computer - with headphones on - or else do research, maybe do some reading of one of the many books I have presently "on the go"; I've been trying to finish A Writer's Diary by Dostoevsky, which is a masterpiece unlike most of his writings; it almost reads like a blog, with rather long entries; I recently ordered a book of writings by Erik Satie and am really looking forward to reading that; Satie is probably my favorite composer of all time; he really speaks to me as a composer, but also as a general fan of great music; he's also had a huge influence on my piano composition; I often try to emulate his complex harmonies when I improvize on the piano; I'm actually recording piano and organ compositions these days, every week I try to record a few pieces as part of my Seasons of The Heart Project, the year-long, secular, liturgical song cycle that I've been working on for many years; there seems to be something about the practice of musical composition that is hard to describe sometimes; it takes so much discipline and hard work; sometimes I think it's even worse than an internal martial art; you have to be so solid, and it requires so much patience and perseverance, stamina, strength, everything else you can think of, of that nature and in that general vein; anyway I need to print this out and review it immediately so I know in what direction I want to take today's work; Stay tuned...

2026-06-07 11:55:10

- I ended up doing some more research, printing it out, reading it, highlighting it, writing roughly 7 new Refcards on my workspace theory and then went for a short walk where I recorded the church bells; I also meditated and prayed at my mom's grave, as I do every morning during my morning constitutional; I also read from a book by Christine Buci-Glucksmann, called Baroque Reason, which treats of Baudelaire and Benjamin in many ways, and I must say is one of my favorite books of recent years; Every year I go back to the library and take it out and read it, just for the sheer pleasure of reading the masterful, amazing, hypnotizing prose of Christine Buci-Glucksmann;
- I also listened to several old tracks, old songs for guitar and voice that I recorded in the 2001-2004 period, when I lived in the NDG borough of Montreal, Quebec, with my then-girlfriend; I think that I was really close to my emotions in that period, though I happened to be suffering a great deal, but I was definitely "in-touch" in a way that I have rarely been after about 2007-2008 when I had another "rough patch" let's call it; it wasn't just that, I had been "riding the waves of history" if I can call it that, for many years, being really close to the mountainous terrain of modern history, riding the wave; I was exhausted, and it's where I learned to make the art-research practice disinterested & impersonal; I was just trying to say that it's hard to write and record music if you aren't entirely "in-touch", to reuse the expression;
- I mentioned the harsh criticism I've received as an artist; the reason I feel comfortable talking about interpersonal conflicts such as these, as well as the water damage to my art collections, the graffiti, the outright destruction of collections and pieces, and art theft as well, is that it fits in with the research I've been doing for decades on what I call "historiopathies" or "historical pathologies"; I can't get into it right now because it's a huge topic that requires a lot of careful interpretation and many systematically meticulous explanations, but in short, trauma and grief are some of the many things that can get inherited from one generation to the next, and the role of the arts & culture, in my view, is always the preservation of the greatest things humanity has to offer, a process, and project I call The Faithful Transmission of The Cultural Treasure Across Generations; to do justice to this pan-millennial civilizational process, one at times has to get into the nitty-gritty of things, the ugly side of history; while I don't believe in the politicization of art, and will never get political publicly as an artist or as an individual person, if one wants to do justice to the faithful transmission I just mentioned, one has to look at the discontinuities in said transmission, and what that entails, what dark consequences can come of that; so trauma must be addressed at some point; more on this later (it must be done with the highest grade of care and concern, however, and hopefully some expertise in the matter, or people could get hurt, and I'm not the best person for this, but can surely find someone skilled in the art; I always try to remind people that this kind of work CAN cause people to become decompensated or else disorganized, and believe me, nobody wants that, but most people never think of these types of risks & liabilities; people just think "Art is free; everything is possible!");
- To come back to the main topic, I plan on writing a bunch of new songs, finishing my DAYBREAK album from a few years ago; I'm also continually writing, recording, and publishing new songs for my Seasons of The Heart Project, as well as new tracks for my Symphonie du Vieux Village or Symphony of The Old Village; I also just do ambient, experimental sound design on the side as it is a passion of mine; I know a lot of people will have trouble understanding what I do; so be it;
- I recorded a new piece and am putting it online, called Symphonie du Vieux Village: Cloches Matinales (or Symphony of The Old Village: Morning Bells); as always, I practice continuous review and so I have thoroughly reviewed my work from earlier this morning, and had already reviewed yesterday's work after I woke up, as well as reviewing the work of the last week, since we are Sunday after all and at the start of a new week; I did a comprehensive review of the month of May, 2026, over the last couple of days; now I think I'm taking the rest of the day to catch up on my reading, as I've been so busy of late logging and documenting everything that I never really got around to doing much of the reading I absolutely need to do to keep my sanity; or else the hyperreflexivity can be poisonous!
- I am sharing the piece here for the first time, the Symphonie du Vieux Village: Cloches Matinales:

2026-06-07 16:37:53

- I actually ended up going back out for a walk, then I wrote and recorded a new song for my DAYBREAK album, something I've been working on for a while; here it is, it's called Quiet Clockwork:

- I also recorded and published a new video presentation last night, which I had been trying to get around to doing for a couple of days; here it is, it's called WHAT IS THE ARCHIVES-PROJECT? (PART TWO):

- I went for another walk, to the library just now, to bring back a couple of books I had finished reading; I kept them around a little longer than usual in case I needed to refer back to them; I also ended up doing my "back-and-forth" dialectical and dialogical method between the main desk and my computer terminals, printing out research, reading it, highlighting it, taking notes, writing refcards, carrying the refcards from the main desk to the computer terminal, printing out more research, writing logs and documentation on the computer, taking the printed materials to the main desk, and the process just starts back up again, ad infinitum;

- I am seeing this more and more as a kind of movement practice, or an internal martial art, kind of like Tai Chi or Aïkido or something of the sort; it's just a modified Feldenkrais practice, which I did for at least 15 years with an amazing teacher-practitioner; I am going to write more songs, I'm on a real winning streak.