ANTILOG_06Aug26a

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ANTILOG_06Aug26a

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2026-08-06 08:57:33

- I haven't written an antilog in over a week; I am due for a quick retrospective of what has happened since then; the following is a list of subjects that I have treated in my main logfile since my last publication here, which was on July 28, 2026:

[TENTATIVE] LIST OF SUBJECTS FROM LAST WEEK OF LOGS:

- Isomorphism and Amodal Schema Theory
- Structural Coupling and the Refcards-System
- Generatology and Reflexive Design
- Archiaesthetics and Historical Aesthetics
- Noise Theory and Cognitive Architecture
- Contemplative Practice and Spiritual Frameworks
- Critical Theory and Cultural Preservation
- Arcades, Flânerie, and Benjaminian Studies
- System Survivance and Studio Network Security
- Historical Materialism and Dialectics
- The History-Project and Historiophany
- Material Art History, Cubism, and Object Codes
- Exhibition in Tonal Cinema and Cinematic Space
- Surrealism, Passive Receptivity, and Collage
- The Theoretical Intermedia Matrix and Database Cinema
- Novelistic Architecture and The History-Machine

- That was just a "quicklist"; there were many other topics that I covered in my art and research since a little over a week ago;
- I began to create "filelists" of files a while back that are contained in various folders on my computer; It was while I was doing my Retrospectives; I found a simple way to use a single function in Windows PowerShell that creates a .txt file with a list of all of the files in a directory plus a timestamp of the date and time the file was created; in the following, I only included documents in my "REFMATS" folder created since the end of July; these documents all contain important research that I've done; each of the items in the list is a separate direction which my research has taken me in; there is a lot of variety, but I'm hoping I can drill it down into the main, overarching themes:

FILELIST ITEMS IN REFMATS FOLDER SINCE JULY 29, 2026 [FOR RETROSPECTIVE, WITH TIMESTAMPS]:

- Technical specifications for Integrated Circuit Topographies (ICTs) (August 6, 2026).odt - 2026-08-06 02:06:51
- Notes on Schizobot Lite (August 6, 2026).odt - 2026-08-06 02:04:27
- Schizobot Lite README.md (August 6, 2026).odt - 2026-08-06 01:40:22
- Technical Specification - Simplified Bare-Bones Schizobot System (August 5, 2026).odt - 2026-08-06 00:11:54
- Technical Specification - Schizobot Lite (Enhanced Edition) (August 5, 2026).odt - 2026-08-05 22:27:48
- Overview of Schizobot System (August 5, 2026).odt - 2026-08-05 22:27:09
- Schizobot Lite Technical Specification (August 5, 2026).odt - 2026-08-05 22:07:50
- Krakauer's Essay on Human Stupidity (August 5, 2026).odt - 2026-08-05 21:28:00
- What Makes Humans Stupid by David C. Krakauer (August 5, 2026).odt - 2026-08-05 21:14:43
- The Architecture of Concrete Realism (Augst 5, 2026).odt - 2026-08-05 10:10:54
- Noise Field Synthesis - Abstract Reality Realized (August 5, 2026).odt - 2026-08-05 09:30:05
- Archive Art - Theory and Application (August 4, 2026).odt - 2026-08-04 21:33:52
- Intellectual Performalism and Epistemic Inflation (August 3, 2026).odt - 2026-08-03 03:00:18
- Historiotheque 1 - Refmats Folder (August 3, 2026).odt - 2026-08-03 02:09:35
- Analog Proofs in Interdisciplinary Art (August 2, 2026).odt - 2026-08-02 08:23:23
- Novel-as-System - Synthesis and Extrapolation (August 02, 2026).odt - 2026-08-02 08:16:48
Novel as Phenomenological System (August 1, 2026).odt - 2026-08-02 08:12:24
- REFMATS SCHEMA PART TWO (August 1, 2026).odt - 2026-08-01 04:02:24
- Document Taxonomy and Organization Part Two [SCHEMA] (August 1, 2026).odt - 2026-08-01 03:59:45
- REFMATS SCHEMA (August 1, 2026).odt - 2026-08-01 03:49:45
- Document Taxonomy and Organization [SCHEMA] (August 1, 2026).odt - 2026-08-01 03:45:43
- Benjamin, Montage, and The Database (July 31, 2026).odt - 2026-07-31 11:56:23
- Surrealist Collage and Historical Montage (July 31, 2026).odt - 2026-07-31 08:07:48
- Non-Linearity, Hyper-Rhythm, and The History-Machine (July 31, 2026).odt - 2026-07-31 08:07:00
- Benjamin's Concept of Graphicness (July 30, 2026).odt - 2026-07-30 20:32:17
- Walter Benjamin's concept of Graphicness (July 30, 2026).odt - 2026-07-30 20:24:36
- Aragon, Benjamin, and Arcades (July 30, 2026).odt - 2026-07-30 19:43:21
- Arcades' Demolition and Benjamin's Ruins (July 30, 2026).odt - 2026-07-30 12:53:38
- Exhibition Curator Theory (July 30, 2026).odt - 2026-07-30 04:11:50
- Benjamin's Visual Archive Reconstructed (July 29, 2026).odt - 2026-07-30 03:51:52
- Human Experience Bandwidth Explained (July 29, 2026).odt - 2026-07-29 17:15:53

- I find that the list of items from my logfile differs somewhat from the items in my filelist for the REFMATS folder; it is the same interdisciplinary art-research practice, it's just that I treat different logs as unique and use them differently, for different purposes; the .txt file that is my main logfile contains all the content that I either come up with through creative writing, or else it contains stuff that I copy and paste from articles and websites online, or else it contains citations from my actual research documents such as those found in the filelist above; the distributed nature of my note-taking practice and research practice in general is by design; I found it important, after many failures, to have my actual physical notebooks to be in different locations, and it was important to have many notebooks, distributed around the workspace; it's all done in the name of greater redundancy, making my system robust in the face of failure, at least some types of failure; I also have many places where I keep and maintain digital logfiles or notes, such as the .txt files on my computer and I also use the Google Keep app on my browser, on my computer AND on my phone (it's actually the main method I use to send notes to myself when I move "from station-to-station");
- In continuing this Retrospective, I should mention that I received three separate external harddrives from a family member containing digital archives and that included tons of digital content that I thought had been completely "lost to history"; so over the last week or so, I've been browsing through those archives, trying to find all the golden nuggets; amongst other things, I found an old song that I had written and recorded circa 2007 that I had entirely forgotten about; I used it to make a video which I posted on YouTube, which is the following (it's called IN THE BEGINNING):

- I will likely be writing a great deal about my "excursions into the Archive" that these new external drives provide me the opportunity to endeavor to do; prior to receiving these digital archives, though, I was resuming my formal study of the works of Walter Benjamin, after a long stretch of time where I took up my Cubism Studies again, after roughly 25 years, and also my studies of modernism and other topics from art history and art historiography, including Surrealism and whatnot, especially in connection with the Benjamin research;
- The following, as always as part of this quick Retrospective, contains a list of the main subjects that I have covered since roughly July 28, 2026, in my Google Keep notes this time:

LIST OF SUBJECTS FROM GOOGLE KEEP NOTES FOR LAST WEEK OR SO:

    • Novelistic Phenomenology & "The Novel-as-a-System"

    • The Core Theory

    • Key Conceptual Components

        ◦ Coded "Dream-Language"

        ◦ Abstract Characterology & Algorithmic Being

        ◦ The History-Machine

        ◦ Nonlinearity

    • Theoretical Frameworks & Media Methodologies

    • Media Archaeology & Historical Materialism

    • Combinatory Literature & Algorithmic Engines

    • Constructivism as Aesthetic Proof

    • The Agency of the Cluster

    • Intermedia Phenomenology

    • Flagship Artistic Projects & Trilogies

    • The Revolt of Fiction Trilogy

        ◦ The History-Project (Historiogenesis)

        ◦ The Archives-Project (Archivogenesis)

        ◦ The Chronotopium / The Algorithms-Project (Algorithmogenesis)

    • Anatomy of an Aesthetic Problem

    • Historiotronics & Historionautics

    • Deep-Archive Project & Refcards-System

    • Computational & Software Systems

    • Python Combinatorial Suite

        ◦ Text Engine Pipeline

        ◦ External Integration

    • Prompt Engineering Meta-Workflow

    • Code/Art Governance

    • Primary Theoretical Reading Matrix

    • Literary Architecture & Poetics

    • Phenomenology & Hermeneutics

    • Semiology, Dialogics & Relation

    • Systems & Cybernetics

- Finally, here is another list of subjects from my main logfile (in .txt format), looked at from a slightly different angle; the two lists of subjects from my main logfile that I have included have many differences; the one below is more EXPANDED if you will than the previous one at the beginning of this antilog post:

[EXPANDED] LIST OF SUBJECTS FROM LAST WEEK OF LOGS:

Primary Artistic & Literary Projects

    • The History-Project

    • The Exhibition in Tonal Cinema

    • The Refcards-System (Reflexive Design Citation & Curation)

    • The Novelistic Phenomenologies & The "Surrealist Textbook"

    • Zigidooism (Architextures / Quadrilateral Existence)

        ◦ Architextures

        ◦ The 4-Fold Cycle

    • Taxi Windows / Order of Ginnetho

    • Core Theoretical Frameworks & Research Paradigms

    • Amodal Schemas & Structural Isomorphism

        ◦ Amodal Schema

        ◦ Neurological Dynamics (Default Mode Network & Executive Control Network)

        ◦ Strategic Intermedia

    • Historiophany & Historiotherapeusis

    • Artistic Historical Materialism & The "Culture of the Object"

    • Noise & Noise Theory

    • Generatology & Generative-Polymorphic Philosophy

    • Key Conceptual & Analytical Syntheses

    • The Conscious Bottleneck (Experience Throughput)

    • Intermedia Genealogies & Intellectual Lineages

    • Key References & Textual Sources Cited in Log

    • Philosophy & Aesthetics

    • Literary & Social Critique

    • Art History & Media Theory

    • Theology & Contemplative Practices

2026-08-06 21:08:01

- I wrote in my previous antilog about my new instantiation of The Refcards-System that I wrote with AI assistance, as a Python script; I shared actual Refcards that I created using that new system; I've since been working on a few other software projects using AI; one is going to be a kind of Suite of different pieces of software that all implement various strategies in what I am calling "experimental fiction" or "experimental literature"/"combinatory literature"; I'm going to try to write about a dozen Python scripts that do different things like use Markov chains to emulate writing by using a .txt file as source material or corpus; I want to maybe use the NLTK framework in Python, the Natural Language Toolkit; I maybe want a script that extracts the text from Wikipedia pages and then mixes it in with other sources, giving you tools to mash-up the text, cut it up, make montages or I don't know what else; right now I'm using the markovify package; so far so good, I've written several hundred sentences using Markov chains; I have used this library before, it's just now I have an interface; but for now, here is the interface for the current version of The Refcards-System:

 - I didn't really say much about all those topics and concepts and subjects, projects, etc., that I listed in several different versions, from different logs and notes; I mostly merely listed the items; I don't know if I will really get into all of the details right now; I want to take my time with this current Retrospective; I've basically been in Retrospective Mode for the last few months; it was this year that my whole continuous review practice really became highly formalized; I even came up with Hyperreflexive Design which I realized was just a different mode of Reflexive Design;
- In any case, I am working on several new projects, going in several different directions at the same time, on many fronts; before going further, here is a screenshot of what it looks like when I either create or edit a new Refcard:

- The first app I created in the Experimental Fiction Combinatorial Suite, let's call it, was effectively the Markov Studio App, the thing I described above, with using Markov chains to create "believable" creative writing; it all depends on what source material you use to pump into the literary engine; 
- As I also described above, I created hundreds of unique sentences using the markov_app.py Python script; here are a handful of samples from the .txt file I generated via the app:

The thing is, Ptolemais didn’t feel the need to hide things if they had no value. 
But dysprosody itself is one of the best kayakers in the world.

I’m doing what the historian does, I’m writing a narrative of what is taking place exactly at this time in History.

I want them to appreciate the beauty of the human body in his Gymnasium.

I know these are big words, but it really is the only way to fight fear is to take action.

One could even postulate that men seek to remain in a state of constant change, ugly as it is in a race against time.

-  It's maybe not the best writing, but for me on a personal level it's a big achievement, as I was never really a programmer even though I learned programming 13 or more years ago; I really want to create simple tools for doing literary experiments; I did after all create a cut-up novel using software in 1998, called Uncovering The Ungun, so this is not new to me entirely; I was using cut-up engines all the time, and actually kept using them until today, though experiments with those are not something I do very often these days, except for today (which marks a new era in my creative practice);
- I've also been hard at work studying the works of Buckminster Fuller again, taking yet another crack at his book, Synergetics, amongst some other selections from his literary corpus; I also spent quite a bit of time lately trying to understand the Einsteinian concept of spacetime as well as relativity in general, the synchronization of clocks problem, the speed of light, the non-existence of a universal "Now" or simultaneity;
- The thing I discovered, which I found interesting was that there is a whole story of the meeting of Fuller and Einstein; Buckminster Fuller had given Einstein a manuscript that he wanted him to read; if I understood correctly, Fuller wrote about Einstein's theories in his book, Nine Chains to the Moon (1938); also unless I'm wrong, some people didn't think that he had the credentials, if you will, to be writing about Einstein's theories; therefore, I believe, Fuller wanted Einstein's blessing, and he got it, Einstein saying:

"Young man, you amaze me. I cannot conceive anything I have done having the slightest practical application."

- I haven't been creating many new Refcards of late, so let this serve as its own cardbox: an unordered set of statements about recent and current projects, as well as some design concepts, if not formally, then informally, of new works and new projects to come;
- Continuous review is back in business after a short hiatus; the image at the top of this antilog post is a digital visual design that I made to represent the Schizobot system, which I worked heavily on the other night, last night, in fact; I wrote over 50 pages on the subject, with AI assistance, as always; I actually created functioning Python code for various parts of the system; I created a separate version called Schizobot Lite; I am working on new concepts and projects, as I just said, amongst which is the concept I'm tentatively calling Archive Art and am working on a new project, also tentatively called The Deep-Archive Project, which is an archival study of my entire digital archive, a study in the sense both of an etude and of a more philosophical treatment; I want to invent new ways of browsing and navigating the archive; I'm using all of the tools at my disposal; this is basically in line with The Refcards-Project (not just the "Reference Card System", but the overarching "Reference Card Project");

2026-08-06 22:24:45

- I haven't written about methodology much, except for the short mentions of the various coding projects I've been working on; I mentioned the term "AI assistance", but didn't really take the timet o define what that means; I have written about it on my Medium blog, about the exact methodology I use to do creative work assisted by AI; work with AI where I do a lot of the heavy lifting to steer it in the right direction, to curate and edit its responses, to refine prompts iteratively, to engage in metaprompting; I constantly "feed back" previous responses back into my current and future prompts; I will try to write more about this at a later date, as I kind of want to wrap this up; I don't want this to be too long; it was meant as a "quicknote" or series of "Quickrefs" or "Quick Reference Cards";
- I've been working on the Refcards-System/Refcards-Project for at least 14 years; I've created blogs on various platforms about it, I've dedicated several GitHub Repositories and folders on it as subject/as object; I've written about it, have collected images and sounds and other archival material, thousands of field recordings and hundreds of videos in my digital archive;
- In any case, this is it for now, for this new antilog post; I will come back to most of these topics, concepts, and projects, as I always do in the modes of Reflexive & Hyperreflexive Design.

ANTILOG_18July26a

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ANTILOG_18July26a

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2026-07-18 04:44:23

- I wrote last time about an academic paper I was working on which was on THE PHENOMENON OF PAINTING or whatnot; I discovered a book that already does exactly what I was trying to do; it's called THE PHENOMENOLOGY OF PAINTING, by Nigel Wentworth;
- This kind of threw me off-guard; I was forced to start all over to try to find something worthwhile that I could actually contribute to the field; I wanted to write a phenomenological essay, on painting at first, and then thought maybe I could do it on the artist's workspace; I was going to take a phenomenological view of the Bateau-Lavoir, the space where Picasso had his studio in the early 20th century and many others, "la bande à Picasso" as they are often called, or "Picasso and friends"; I wanted to reconstruct the space with all of its ambient, atmospheric qualities; this proved difficult as I couldn't find enough sources that talked about the actual space qua space; usually it's mostly talked about in terms of Picasso's studio and what he painted while he was living there; his then-girlfriend Fernande Olivier documented a great deal of it, I just haven't gotten around to finishing the book;
- I have been working hard on new pieces of ambient, experimental sound design, which is what I call what I do, even when it's not digital work, like my works for piano and organ and whatnot; it's just what I've always called it; I took a piece of music, a famous, old medieval Gregorian chant known as Dies Irae, took just a section of it and looped it and added virtual instruments; I layered the instruments and then in the final mix, I added the sound of a Blackhawk military helicopter; I called it IN SEARCH OF SATIE: HISTORICAL RESCUE MISSION; as part of my ANATOMY OF AN AESTHETIC PROBLEM series of sound designs, I created this piece by Satie and several others; I made one with Mussorgsky's Meditation, another with Satie's Gnossienne No. 3; I just created one with Franz Liszt's Totentanz; the idea is a kind of Spectral Music; I take pieces of classical music and make a "re-arrangement", I call it, focusing mainly on the spectral qualities of the piece; I create layer upon layer upon layer of virtual instruments, often with slight effects like reverb, or some slight distorsion; then I work on the actual audio file of this, adding ambient/atmospheric elements, like the sounds of birds singing in the morning for the Gnossienne piece, a crowd of people chatting for the Mussorgsky piece; I plan on continuing this sound design series indefinitely;
- I'm  basically making a form of Sound Collage, but the fact that I focus on spectral qualities, the timbre of the overall sound, plus the extensive use of layering, makes it, I think, into something unique; I am calling them "variations", though they are only really variations in the spectral domain; I am also mostly using samples from the actual music that I loop in FruityLoops; in any case, here is the first piece I made the other day, called IN SEARCH OF SATIE: HISTORICAL RESCUE MISSION, which is a variation on the Dies Irae theme:

- The piece about the Bateau-Lavoir I mentioned above ended up turning into something else, a story about a researcher who finds some old journals written by an "unknown painter" who lived at the time that Picasso was at the Bateau-Lavoir, who actually lived IN the building, but who was entirely lost to history; I named him Gabriel Finch and he was a young Englishman; I also had an idea before that for a book I called The Cubist House which was a kind of comedy about the Bateau-Lavoir, with characters being on these sets with cardboard cut-outs or whatnot, something inspired by my many readings of the novels of William S. Burroughs, who often did the same thing or something similar; a friend of mine I was talking about it with at the time said it would make a great play and they were even willing to volunteer to play a part in it; this was, to me, proof that my idea was a good idea, but the concept behind it kept changing;
- I realize that what I call "design concepts for novels" keep transforming from one concept to another; I start working on a new book and it continuously keeps transforming into something else; I ended up with so many ideas for so many new books that it kind of paralyzed me; that's when I decided it would perhaps best be a selection of short stories, which are much easier to write in many ways, though also in some ways more difficult; the basic idea is that I figured no one would ever really read all my theoretical, philosophical writings, so it was better to "show" it through short fiction and whatnot, painting series, musical series, than to try to "tell" it via said very abstract philosophy;
- The story about the researcher discovering the journals I was tentatively calling THE WASHBOAT PAINTINGS, as the name of the Bateau-Lavoir in English translates to "washboat" or else "laundry boat" is perhaps a more common term; the researcher was actually researching the history in painting of representations of laundry boats/laundry ships when they found the private journals of Gabriel Finch in an old estate sale in London; anyway, I wrote a bunch of stuff and now am kind of moving onto something else, though I don't really know what exactly; I'm more or less working on several other novels I started recently, like THE CHRONOTOPIUM, THE NTH CRUSADE,  a book of short stories that I was talking about called HISTORIOPHANY, and a theoretical book called ABSTRACT CHARACTEROLOGY, which I thought I had talked about on here before, though it appears I haven't yet; the book of short stories, HISTORIOPHANY, is basically made up of stories where the main character has their own unique "historiophanic experience"; the first story, about the researcher finding the journals and whatnot, ends with a mystical-ecstatic experience where the main character has a vision of being in the Bateau-Lavoir, a very bizarre, and of course absurd, visionary experience, kind of like a Surrealist dream; I actually talked a lot to my friend about these recurring dreams I had in my life of this kind of "Cubist Dream-House"; my recent experience at the Abbaye Saint-Benoît-du-Lac had an influence on this idea of characters walking endlessly through the dark corridors of the Bateau-Lavoir; I didn't talk much about that experience on this antilog I don't think, I think I just mentioned it briefly in passing; in any case, it was a pretty powerful experience which I should probably get into at some point, as it has influenced by work a great deal in the last few weeks since I spent the weekend there;
- Here is the second piece I made in the series of sound designs of spectral sound collages of classical music; it is called ANATOMY OF AN AESTHETIC PROBLEM: MUSSORGSKY'S MEDITATION and is a variation on - you guessed it! - Mussorgsky's Meditation, though I only used the first 25 measures or so, if I remember correctly (Note: I used a field recording of a busy crowd of people talking in the sound collage):

- I was going over my Picasso notes the other day, notes that I began writing 25 years ago when I was studying Picasso's Demoiselles painting and subsequently studying Cubism; I spent two years studying just Picasso's painting and then another two years studying Cubism; I took several hundred pages of notes; this whole project, ANATOMY OF AN AESTHETIC PROBLEM started last month, give or take, when I started studying modern art again, modernism in particular, and Cubism also more specifically; I made a series of about five Portraits of Picasso, then several Portraits of Erik Satie, which was at the point I started thinking about the concept for a IN SEARCH OF SATIE series; that's what I called the Satie Portraits, which later became the series of musical pieces/sound designs; this was at the time I was working on THE CHRONOTOPIUM-PROJECT SERIES (of paintings), which I have mentioned here before (I believe I said at one point that the ANATOMY OF AN AESTHETIC PROBLEM project was actually a "subproject" of THE CHRONOTOPIUM-PROJECT; here, for the record, is the last piece I published online from the IN SEARCH OF SATIE series of Sound Collages, with the same title as the previous one, it's just version 2.0 ("v.2.0"):

***

2026-07-18 06:32:06

- I mentioned above one of my new books which I am calling ABSTRACT CHARACTEROLOGY; I created a new GitHub Repository a short while ago which is dedicated to "Design Concepts for Novelistic Phenomenologies"; the basic premise thus far is that there was a fatal flaw in the system by which I wrote novels, or tried to write novels, over the course of the last 30 years; in the README.md file for this new GitHub Repository, I began writing about the need for having an abstract characterology; here is a short excerpt from that repo:

2026-06-15 14:19:37

One needs to have a complete characterology if one wants to get ahead in life; the behaviors that you will see people engage in around you in your life will never make sense without a proper characterology; each character comes with its own aesthetic/design problem; you need to work out that problem in your head if you ever want to truly understand someone; we ARE "naked problems, white signs on a blackboard", as André Salmon said of Pablo Picasso's Les Demoiselles d'Avignon painting, which is probably, or so they say, the work of art that has been most written about after the Mona Lisa.

- I've actually been working on the characterology for a while, at least in some form I've been working on it for decades; it has to do with the phenomenology of the novel or novelistic phenomenology itself insofar as it involves the creation of authentic characters; my characters are an extension of myself in many ways; anyhow, I want to build this characterology from the ground up and deal with these many "design concepts" for novels in a formal way, and phenomenologically; here is a slightly longer citation from my recent writings in the NOVELS REPOSITORY on GitHub where I talk more about the problem and problematique which is at the heart of the novels but also which is the foundation for each and every character I create:

2026-07-15 18:54:23

- The abstract characterology has to do with defining each character's problem space which is connected with a solution space in that the P-Space generates the S-Space;
- A novel is just one of many possible "elegant solutions to aesthetic problems", to the aesthetic problem at the heart of the novel; so the story is an elegant solution to an aesthetic problem and each character also has another type of aesthetic problem linked to them; even the settings pose yet another kind of problem; everything is problematic, the novel is a problematique;
- As I said, the characters also have their own unique problems, one or more per character; usually the character actually also has, and is, a problematique, a (meta-)system of problems; the characters are what I like to call naked problems, they are walking, talking problems.
- The "character-as-problem" is also the "character-as-hypothesis";
- The character "makes a testable and reproducible prediction about reality", about its own reality as fictional object and device in the novel;
- The Novel-as-a-System is first and foremost a system; it has parts, moving parts, components, that are "nodes" in a complex network, connected by "interactions" between these parts, or the network's "edges";
- The character "interacts" with the fictional universe, with its objects and places and with other characters, and interacts as well with the Author's mind and the "mental furniture" that inhabit his mental space (of ideas);
- The metafictional character is self-aware, is aware of his existence as object, or subject, of fiction; he has sensations, feelings, and thoughts, and is always moving; in this way, the character is a "moving target" for the Author, is never quite where he's supposed to be, is always getting stuck in the margins, in the periphery.

- That's it for now; I want to get into some of the metafictional elements for my new stories and new novels, stuff that I've been working out in my head; as I was saying, the design concepts for all of these things keep transforming continuously in my imagination; it's hard to even put it down on paper at the speed that I experience the invention of new narrative material; I do my best, but a lot of it I can't quite capture just yet; I am really experiencing the novelistic phenomenology more than ever; I've been writing about it for at least 25 years, if not longer, but it feels like I am only now just experiencing it at a deep level; I always experienced it as I worked on my novels, but now it has really been formalized and integrated in a way that essentially was maybe not possible before; one lives and one learns, and this whole Art Operation of mine is always a work in progress;
- I leave you for now with one of the works I made in my series of Picasso Portraits as part of the ANATOMY OF AN AESTHETIC PROBLEM "subproject" as I called it; it is pencil on paper and meant to look as though it were a Transfiguration of Picasso: