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_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_25June26a

 

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ANTILOG_25June26a

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2026-06-25 00:32:26

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

2026-06-25 02:20:20

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

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

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

2026-06-25 22:57:22

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