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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:
- 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.
- 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.
