ANTILOG_13July26a

###

ANTILOG_13July26a

###

2026-07-13 05:45

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

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

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

2026-07-13 08:30

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

 1. Historiomania

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

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

2. Autohistoriophilia

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

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

3. Historiophobia

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

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

4. Historioclasm

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

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

5. Historiophany (True vs. False / Logopathic)

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

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

6. The Phantom

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

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

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

2026-07-13 15:51

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

ANTILOG_24June26a

###

ANTILOG_24June26a

###

2026-06-24 02:46:12

- I've been doing an official "Spring Retrospective", a retrospective of the past season of art production and research; that is, I've been going over the "archives", trying to see what I've been doing exactly in The Historiotheque over the course of this past Spring; I went over the logs & documentation, trying to figure out what actually happened, trying to "reconstruct the timeline"; the main objective or purpose of this kind of seasonal retrospective is to find hidden gemstones in the archive;
- I must say that I have found many from this period, which was extremely productive and prolific; I will get to that in a bit; first, during this process, I had many realizations about why I've been doing all this logging, documenting, and archiving over the course of the last few decades; sometimes it seems like complete overkill, as you can surely see in my previous antilogs where I am meticulously going from a physical notebook, to Refcards (index cards) where I transcribed content from something I just printed out, then taking the Refcards to another workstation and transcribing those into a text editor or note-taking application, then starting the process all over again; also, I compulsively timestamp everything; I have been reaping the rewards, though, of this methodology which at this point is integral to my interdisciplinary art-research practice;
- I realized that, when doing a major retrospective such as this, every season or so, I can do a retrospective of just one specific medium; that is, I can view the archive from different angles; for example, yesterday in the process of doing the retrospective of last spring, I looked at the 13 videos of discourses on my Art Operation that I made since the beginning of May and posted on YouTube; I copied out all the transcripts and used AI to write detailed summaries of each; I printed them out and went to the main desk to read them and highlight salient points; then I tried to reconstruct the timeline of events during this period, connecting each video to other works in other mediums that I was working on at the same time, artworks as well as research; I did a separate "micro-retrospective" of all the paintings and drawings I made in the same period, again trying to connect the different logs together, the time series, if you will, or sequence of videos, paintings, and other media;
- Going through this process of trying to reconstruct the time series of all my creations and research for Spring, 2026, showed how these different series across different disciplines and media, are like "interwoven streams"/"interweaving streams"; I saw this as a kind of faceted approach as well, of separating out each stream, then recombining them, separating and recombining; I saw the aesthetic truth, if I can use such a term, of the hyperreflexive design practice, of hyperreflexive design retrospectives;
- One of the goals of this was to make a new video discourse called "Hyperreflexive Design Retrospective: Spring, 2026", which I still plan on doing, where I actually go through the contents of all my previous videos, going back at least as far as the beginning of May, 2026; the reason I was starting my retrospective in May was that in the Spring before that, I was still in a prolonged fallow period which started in winter in November or December, 2025; it was a very long winter of much less activity in the studio/labs than my usual levels of high productivity;
- In any case, I came to realize that not only is my art practice an intermedia practice, but my documentation is also; I had many realizations just in one day of officially doing a seasonal review, which I started because Summer just started; I found that the method of continuous review was necessary to feel the "rhythm" and "pulse" of history and ride the "wave(s) of History" too;
- I then looked at some of the previous posts that I made on my Historiotheque account on Medium, my "Unofficial Release"/"Soft Release" from May 1, 2026, and my latest "Official Release", semantic version 5.0.0. from May 21, 2026; I am actually preparing to write another Official Release of The Historiotheque, of the art studio/research lab treated, as always, as Cultural Software; so I was trying to reconstruct the timeline, went over the video transcripts since May, 2026, then looked at my paintings and drawings since May also, and as I said, I looked at my various releases, including my Official Declaration of Production-Year 2028-2029 that I published on May 18, 2026; then I started looking at my notes in my notebook over the same period as well as my notes in the Google Keep app, which I always timestamp, or try to; actually, some of the paintings and drawings were never timestamped, which caused a bit of a problem; but I usually always take a photograph of my visual art right after I finish it, when I set it aside to observe it for a while; I take a photo at that point and all the photographs on my phone are timestamped; you can see it in the photo's metadata;
- This helps greatly in reconstructing the time series/timeline; another thing, though, was that in looking over my physical notebooks, I noticed that one of them was either lost or misplaced; I looked absolutely everywhere for it, like 4-5 times over, I searched through my filing cabinets and every corner of my studio/laboratory where it possibly could have been tucked away or else fallen behind something, in the cracks between two pieces of furniture or whatnot, but to no avail; then I realized that my documentation/archiving system is founded in part on the principle of redundancy; as it turns out, it's possible for me to lose an entire notebook and not lose any important content from it, as I had already copied out the salient points onto index cards (Refcards) and copied the contents of those Refcards onto my computer in two places, a file called LOG_2026.txt where I log absolutely everything, and in my note-taking app on my computer and my phone (I use Google Keep);
- In essence, I can reconstruct the NOTEBOOK itself; on the subject of that notebook, though, I distinctly remember hiding a few of my notebooks in the filing cabinets somewhere in I don't know what, a flight of fancy, in an altered state from continuously reviewing everything, the logs, documentation, archives, etc.; when I reach a "culmination-point" or "saturation-point" in the hyperreflexive design practice, I often am in an altered state, which is actually conducive to the kind of work I do, which can be extremely abstract and "heavy-duty" in terms of cognition and whatnot; the work requires a great deal of attention to detail and the meticulous, systematic application of principles and methodologies; but yesterday, I proved the NECESSITY AND UTILITY of these practices;
- The redundancy is a necessary part, a fundamental, integral part of the design practice, and even though as I just said, I am meticulous and sytematic in my implementation of it, there are still holes and fatal flaws in the system; what I saw was that I officially formalized the nonlinear practice in the beginning of May, 2026, or at some time in May; it actually wasn't 100% clear what happened in Spring, 2026, even though as I keep saying, I followed the process of continuous review and hyperreflexivity of the design practice TO THE LETTER; but still, it always takes work to reconstrut things, which is why Retrospectives can be such a grueling, painful exercise;
- Before going any further in today's antilog, here is a labnote I made on June 21, 2026, of the experiments that I had been running of my field recordings of Atmospheric Tone; I will come back to this Spring Retrospective afterwards, though in essence the taking of labnotes IS "retrospective" in nature, as it is part of the continuous review process; it will all make sense in the end, I promise you:

2026-06-24 03:46:57

- I actually had a vision while working on this Spring Retrospective yesterday, what I call an artistic vision; I saw what I called the "stitch in time" through this process and saw how all of my different practices fit together, the art production, the research, the logging, documenting, and archiving of everything; the archive and work inside the archive is fundamental to what I do as an interdisciplinary artist-researcher, in fact, I couldn't do what I do, accomplish what I accomplish, if I didn't do things this way; it's not enough just to create innovative cultural artifacts; one has to constantly reinvent and renew oneself, start new projects, invent new concepts, and generally surpass oneself; the archival work serves this purpose perfectly; I wish I could just paint and not have to worry about all of this history; what I experienced, though, the vision of history as a stitch in the fabric of time, helped me with my design concepts for my new novel, THE CHRONOTOPIUM; it has to do with something I am calling "being-in-time" which I can perhaps get into later in another antilog;
- This stitch, I will add, reminded me of my history-paintings circa 2001-2004, the hashmarks, one could call them; the image I saw may just become another type of painting, the "documentation-painting"; SEE: history-paintings, technique-paintings, process-paintings, inhibition-paintings, archives-paintings, etc. (there are paintings of all sorts of occasions, visions of an innumerable variety;
- I decided that I will buy one of those Accounts & Ledger books, something more professional, to keep a formal log of all productive events inside The Historiotheque; also, to conclude on all of this, the retrospective process is NOT about the past or dwelling in the past; it is about the sacred art of time travel and cultural innovation, true cultural innovation; I don't mean time travel as in actually visiting different eras with some sort of time machine; no, it's an ontological and phenomenological time travel of experiencing the ways of seeing, if you will, of artists and researchers from different times; for instance, after reading an essay on Surrealism by Walter Benjamin the other day, I was transported into the Surrealist period in art history and was able to grasp, to truly, deeply grok what it was all about; I had already studied it greatly in the 1998-2002 period or thereabouts, but never understood it in the way that I did the other day while reading Benjamin's essay; it also made me realize for the first time what Benjamin meant by profane illumination; it's essentially the same as my concept of historiophany or historical revelation, though I would argue that Benjamin's profane illumination is one of the many types of historiophanies that one can have, is one of its fundamental types;
- N.B.: The physical notebook that I lost or misplaced will show up again at some point while I rummage and browse through my personal archive and it will happen at precisely the most critical point and will be one of the many spontaneous discoveries that I make while going through this review process; on this subject, I want to share an old video I made 15 years ago, in 2011, called The Art of The Found, where I talk about a new metaphor for this type of search/research/discovery that was inspired by something Microsoft implemented, which I first expermented in its Vista OS, called System Restore:

- To conclude on the progress of my Spring Retrospective thus far, I think it's important to get the movements and sequences - of the "Living Symphony" - right; how exactly did it happen, occur, or transpire?; has it occured like this before?; is it a vision, a dream-image, or an archetype that is surfacing/resurfacing?; we need to know how the experiments went down with utmost/utter exactitude; we don't just write labnotes for the hell of it;
- Whenever I'm working "in the archives", I invent new algorithms, that is, I spontaneously come up with new procedures, whether it's for browsing through the archive, or doing what I call "folder-compression" or just "dismantling the archive" in whatever way; I have my highly formalized methods of doing this kind of work, which I practice continuously, but every now and then a "naked problem" arises in the process that I need to "solve"; therefore, I try to "find an elegant solution to the problem"; this happens as a spontaneous discovery; I make these discoveries continuously in my interdisciplinary art-research practice;
- One of the aspects of this practice which became clearer and clearer back in May of this year, was that it is fundamentally a nonlinear practice; it was through the "enhanced practice" of this nonlinearity that I came up with hyperreflexive design, which I later realized was just a mode of reflexive design, which I can get into in a later antilog; suffice to say that spending hours in a fundamentally nonlinear practice every day can not only be exhilarating, but it can easily lead to decompensation and disorganization; also, sometimes when rummaging through the archive, I stumble across a folder or whatnot or just some loose leafs of some notes I took that happen to come from a more "difficult" time or period in my life; I find that the key in such cases is to properly, and systematically as with everything else, "process" the experience; that is, I take the folder let's say of jottings-down from the 2008-2009 period, which was particularly trying for me, and I meticulously go over every page, trying to put them back in their original order, i.e. reconstructing the timeline, and then I try to access the trajectories that my mind was going through at the time; my autobiographical memory is phenomenal, though not at the level of Highly Superior Autobiographical Memory (HSAM), also known as hyperthymesia; my memory allows me, however, to access exact memories of my thought processes over the course literally of decades of time; I can access what I was thinking of, what projects and concepts I was working through, and also what the state of my archives were at that time, of my art-research practice in general;
- Anyway, one can't rely merely on inspiration being there to do this type of work, what I call "The Great Work"; one needs, requires, a methodology; what I am slowly moving towards is having an actual Accounts & Ledger book where I log everything in a precise time series or sequence, but also I think I may need different ledgers for different mediums, different disciplines, in my Strategic Intermedia practice; the distributed ledger system that I think might fit nicely with all of this, with separate ledgers and whatnot, would force me, when continuously reviewing, to have to reconstruct the timeline, or to make a single "global timeline", if you will; I believe that it's important to do the cognitive work of RECONSTRUCTION; otherwise, one isn't flexing the muscles of one's memory, and one will not have the amazing chance of making those spontaneous discoveries that make my practice so worthwhile; one must choose one's battles; SEE: "choosing one's battles" in wisdom literature;
- I need to keep doing this "reconstruction" work; I will be adding more about it either to today's antilog or in tomorrow's or the next day's, as I try to complete my Spring Retrospective; I am seeing, though, how all these streams are "interwoven"/"interweaving", and that in and of itself is the perfect kind of gemstone, which is what this retrospective process is all about: FINDING THE HIDDEN TREASURE WITHIN THE ARCHIVES!

2026-06-24 08:45:52

- I just created another labnote that I wanted to include in the present antilog, for future reference as always:

ANTILOG_19June26a

###

ANTILOG_19June26a

###

2026-06-19 00:26:45

- As should be quite obvious by now, I've been thinking a lot about the workspace lately; yesterday, I recorded a video, called Spontaneous Sorting Algorithms in the Workspace, of myself sorting through folders of printed materials from the archives; I made a series of 9 videos about 12 years ago where I did something similar, in an experiment I called Experiment in Spontaneous Creation of Organizational Heuristics; the basic premise for the video experiment was that I would take all of my current folders and try to sort through the materials, in an improvized way; I had no methodology in mind that I would use, it would be entirely improvized in real-time and based on what I would find in the folders themselves; at the time, I was printing out a lof of material from the web and from my own writings, and there was no organizational logic to those papers; I needed to organize them, to do a kind of retrospective as I've always done, of said materials; so I had a design concept for a video experiment which became the aforementioned video series;
- In any case, yesterday's experiment was a success, in my opinion; I was able to reorganize the contents of a bunch of folders; the idea is that I took materials almost randomly from within a bunch of folders I retrieved from the archives and I went through it item by item roughly and created new folders, adding a timestamp to the front of the folder and a new title for a current project represented by the sample I took from said folders; this process doesn't have to be exact, meaning I don't need to classify or reclassify every single item; it can be really rough, and I find it's important sometimes to keep at least some of the folder's original structure, even if the order or organization within it is pseudo-random; remember, I love noise in all its forms and may just need to write a new piece - and project! - called Noise in the Archives as a kind of complement to my Noise in the Workspace project I started a while back;
- In another note, as I said in a previous antilog a short while ago, I began taking field recordings outside the studio which I call Atmospheric Tone readings, if you will; these are similar to "room tone" recordings people often make in video and audio editing; I am now recording the "room tone" inside the lab as well to get a basic reading of the atmosphere inside the workspace; this might just have to be another project altogether, which I would call Atmospherics Analysis; in fact, I've been doing a lot of audio work these days, composing music, recording it, mixing it, and also doing a great deal of my ambient, experimental sound design work; throughout the process, I've thought a lot about sound in general, the physics of sound, the physics of atmospheres, and have developed what I think is a unique take which, as stated, would form part of a research track tentatively called Atmospheric Analysis;
- In this new line of research, I conceive of any ambient space as an Atmosphere, and atmospheres have all of the same features of any sound, really, except that it is a mix of disparate soundmarks, let's call them, which are all superimposed atop each other, blending in with one another and forming an overall ambience or atmosphere; I was recording some piano at Historiotheque 2 for a video we were making and noticed that we always close the patio doors to get a better quality audio recording, to avoid recording any background noise coming from outside; what I realized, though, is that if I leave the doors open and put the field recorder near said door, or even outside it on the balcony, then when I play the piano, the recorder will also record the atmosphere outside the studio, blended in with the piano sound inside the studio; this makes a composite atmosphere with two different atmospheric tones superimposed (in the 3D audio field, when mixed together in the DAW);
- I also came to the conclusion that authors of creative writing, mainly fiction, and specifically novels, also novels from the modernist period which is what I was studying, all have particular atmospheres, that is, the authors create atmospheres; I know that geocriticism and ecocriticism already, but my Atmospherics Analysis or Atmospherics Theory is different, different and unique; what I realized, like with a novel like Virginia Woolf's Between the Acts, is that essentially, and this is my interpretation which may be flawed, she is representing and reproducing in fictional prose the environment in which she wrote the words that made up her novel; it is my opinion, after much research and reflection, especially trying to find any research that goes in the general direction of Atmospherics Research, the author of fiction and of novels is basically ALWAYS reproducing in prose what they are experiencing not only in their immediate environment, but also what they are experiencing in their interior evironment or milieu; this milieu is of critical importance and I found in any case that when doing creative writing, mainly fiction in the form of novels, one has to be in-touch I call it, with one's inner space, one's body, etc., and everything has to be in harmony, the inward space has to be in harmony with itself AND with the outer space ("ambience" or "atmosphere");
- I've done a great deal of inspired writing and it is my direct observation of the process from the inside that instructs me in forming this hypothesis, as it remains a hypothesis until I have enough data to back it up, which is what I'm trying to do by amassing hundreds of Atmospheric Tone field recordings, which I plan to analyze using the modern tools of data science, especially visualization of data and datasets; this will eventually fold back into my work in acoustic ecology, as most of my field recordings outside include bird sounds, and the Old Village where I live has dozens of different bird species; NOTE: ambient space outside in the world, in nature but also in spaces such as the village, always have a unique sound; what I mean is that you can make a field recording in the morning at let's say 4am on a day in the middle of summer, you can make two separate recordings at exactly the same time, but itwo different locations, locations with an appreciable distance from one another, and the overall STRUCTURE OF THE ATMOSPHERIC TONEwill be completely different; the niches or ecologies will have their own set of natural sounds, different sets of birds, of insects, of anything that is sound-producting;
- In a place like a village, town, or city, the natural environmental sounds, the background signal or sound, will include human-made sounds, everything from motor vehicles to the sounds of construction sites, to people walking down the street, chatting with one another; you always have some amount of wind, too, even if nearly imperceptible; wind is an unfortunate thing in field recordings a lot of the time, and I find with regard to my Atmospheric Tone readings, it is not only impossible to remove once recorded, but I haven't yet found a way NOT to record it; it blends in, bleeds into, every other sound;
- I've also been publishing images taken from my workspace which I collectively call Work Records or Work Recordings; these are pictures or other forms of recordings and data-gathering methodologies that are of the actual workspace itself, in its current, unique "work-state"; that is, it is a "snapshot" of the state of the exposed surfaces of the workspace, its appearance basically or we could even say its "face"; these word records are meant to show the structure of the given "facets of the work-face", the current status of the work-states of the workspace (I know, that is a mouthful!); here is a Word Record I took the other day of the main desk at Historiotheque 1:

- These images, which are digital designs which I made based on actual picures, are trying to show what I call The Geology of The Workspace; the worspace has many "stacks" scattered around most exposed surfaces, except for "sub-spaces" within the overall workspace which I need to remain free of clutter, as they are where I'm actually taking notes or painting or whatnot; everything else basically has stacks of different kinds, stacks of books, of paintings, of folders, of boxes of Refcards (SEE: The Stacks-Project); these stacks form what resemble geological strata, hence the name of Geology of the Workspace; here is another such Work Record, taken either yesterday or the day before, I can't really recall; the image is meant to have a relatively "unsaturated" or "subdued" color palette, in various colors that to me often make me think of ice cream, at least the lighter hues, like of slightly offwhite whites or light pinks, light yellows, and light blues; then the shadows are also rich in hues, of dark browns and whatnot; it depends on the lighting and the exact viewpoint that I am taking with any given work record field recording; here is the image in question, which I've already posted online across all the various platforms I contribute to daily in my interdisciplinary art-research practice:

- As I already stated, I've been making many field recordings, images and sounds, but I've also been writing a great deal, in public; writing in public is a bit of a nuissance in that I have to take out my pen and notebook and I have to try to take notes inconspicuously; inconspicuous because I don't want anyone to show interest in what I'm doing or pay any attention really, because that interest or attention will influence the actual writing process; I believe in working in a hermetically sealed environment with strong, thick walls separating the studio/lab and the outside world or milieu; I believe that one needs to erect strict boundaries between the two; it is rare that there is a direct communication between these ambient spaces or Atmospheres inside and outside the workspace;
- In any case, when I'm out in the field, I don't have the privilege of being invisible, so I am being observed if there are any people around; they might not be actually paying attention, but they do see me, even if only in their peripheral vision; this disturbs and perturbs the writing process, as I just said, as well as any data-gathering technique or medium I happen to use; even deep in the wilderness, the various animals will "see" me, which can also influence the field recordings and data-gathering processes; the only solution is to be as still as possible, and supple; that means that I sway gently when the wind blows against me, as any overt, intentional movement on my part, as I have directly observed, can also influence the recordings; I am just a silent witness, giving first-witness testimony to what's occuring in the environment; I call these events at times, sonic events, visual events, etc.; in essence it is a form of fieldwork, but I in any case haven't found anyway to solve or resolve the fact that I can be included in and so bias the recordings; if my presence causes people to respond by moving around me, or if say they stop speaking as they get nearer to me, or they change what they are saying, any chance basically in the overal Environmental Picture, can kind of "falsify" the recordings;

2026-06-19 03:07:25

- I've been really busy of late going through my personal archives and trying to downsize it, or what I have been calling "Dismantling The Archive"; I am envisioning what I call post-archival theory, which is where I think we are headed as a civilization; as I said above, I recorded a video of myself showing the process of going through folder upon folder upon folder of printed and typewritten as well as handwritten notes, recycling a bunch of stuff that I think is just extraneous noise; most of it is still good, though; folders have a birth date and a death date which encapsulate the lifetime of the folder; different folders have different lifetimes; the whole thing together forms a kind of historiome of the archives, if you will, to use an old term; that is to say, the specific shape of the changing surface of the archive over time in 3-dimensional space or 3D, forms a historiome, similar to the historiome of a population history; this historiome right now, for my personal archives, only really lives in my brain, with my exceedingly expansive long-term memory;
- I'm working on a new project and trying to figure out in what direction exactly I want to take my art-research practice, new projects and their underlying complex conceptual schemes; also, as I was saying above, I've been doing a lot of work in the field, especially note-taking; I have a separate physical notebook that I carry with me at all times when outside of the studio; I've been writing in a kind of aphoristic style similar to Nietzsche's, often just a single, punchy sentence; it's important, I think, to continually reinvent oneself as an artist or researcher, otherwise one rirks having things become stagnant;
- The sorting algorithms that I use when working through" the archive, as shown in my Spontaneous Sorting Algorithms in the Workspace video, are actual algorithms; the only difference between my sorting algorithms and those designed for computer systems, is that mine are manual; that is, I "process" data, information, or knowledge, in a physical way, in the physical space that I inhabit; I have spoken of this many times before, but I rely a great deal on context-dependent memory as well as state-dependent memory;
- I discovered that the brain and body together, the inward space or space experienced from the inside, has its own personal historiome;

2026-06-19 14:04:25
- I recorded a few more videos lately and uploaded these to YouTube earlier today; the first is on the subject of "DAY-TO-DAY OPERATIONS AT THE END OF SPRING:

- The second video is another of my "ATMOSPHERIC TONE" field recordings; another video is being converted and should be put online shortly:

- That's it for today; I wanted to write much more, but got carried away with cleaning up my workspace so that I can start clean tomorrow with a nice work surface to work on.

ANTILOG_16June26a

###

ANTILOG_16June26a

###

- Before I begin, I want to share with you a video I made earlier today of a recording from yesterday morning what I have previous called "ATMOSPHERIC TONE"; for those who don't know, often in video and audio editing, one records what is called "room tone", which is essentially the sound of the empty room, or at least empty of any human sound, just the room itself, in all its solitude and beauty; I just extended this to any ambient space whatsoever, what I call atmospheres, for lack of a better term; these are very short; in any case, here is the first one from earlier today, recorded in the morning at Historiotheque 2 (yes, my Historiotheques are multiplying at the speed of light); I now have a second Historiotheque where I work often during the day, of in very early morning, which has a piano, which Historiotheque 1 does not have, so I record all my piano there and do video editing and other related things; the following "ATMOSPHERIC TONE" field recording was made yesterday, June 15, 2026, at 9:10:

- Somewhere near the end of the 2001-2004 period, I took all of the fictional writings that I had written to that point starting from July, 2001; basically I just created a roughly 500-page document that contained all of my writing from The History-Project toward a novel that ended up never materializing; now, I am re-editing that document but I am taking it all apart this time into its constituent parts; so far I'm a little more than halfway through and was able to separate the document into a total of almost 60 unique documents; I am calling this the modular approach to editing a novel, and which will actually be my approach in future WRITING of any new novels; essentially, I will be able to build ANY kind of novel from ANY of these modular parts (which are "atomic units" with regard to my novels); no two novels ever need to look the same; part of this was founded on the fact that my writings of this nature, my novelistic-phenomenological writings, can fit into neat sequences, as they were originally written serially; everything I do, by the way, is serial; in any case, over the next little while, I plan to publish AND archive all of these documents as standalone modules of novelistic writing and also any of the new composite novels that I create from said modular parts;
- I've also been working a great deal these last few weeks on a new project which I finally found an official name for, though as sole creator of these works, I reserve the right to change a project's name, or any other aspect of my work, if I deem it necessary; it is called "The Anatomy of an Aesthetic Problem"; I mentioned this already on the 14th of June, 2026, on this antilog; redundancy is built into my practice; actually, in the "Author's Note on the Rationale for Repetition" in Synergetics, Buckminster Fuller explains that repeating core concepts with varying arrangements is essential for comprehension; more on this soon, and other reflections on Synergetics;
- As I was about to say, I've been hard at work on this new project, doing a lot of ideation, writing about my process, keeping ample logs in different media on different substrates, documenting and archiving, the usual suspects; 
- I've been plumbing the depths of the archive, reading through that 500-page composite text I created 20+ years ago with all those mismatched parts, and in the process I had a vision and then a reflection on my workspace, seeing it, this time, as what I called MY SERVER ROOM; here is a quick sketch of that I made today in the early morning:

- I've made my paintings this last week actually, or last few weeks; I've been reflecting on some of my paintings where I painted a reproduction of the famous/infamous Lena or Lenna image from Playboy Magazine in 1972, I believe, an image which has been used in image processing since the field has existed; My use of it, of course, was not to perpetuate the abuse via image appropriation, or the appropriation of a person's likeness, or all of the negative things that came out of that, for Lena herself especially, I guess; my use was meant as ironic and subversive, and a critique of image processing itself as a field of research; I painted in one of my only Large Formats which are Extant, I painted maybe 5 or 6 small Lena pictures, trying to represent image processing functions or effects, and what that looks like and translates into, in the realm of painting; in any case, here is a portrait of a young individual whose origin I can't comment on right now, as I will be publishing it, with an accompanying text, on another media platform and don't want to give up any secrets about it until I've actually begun writing the text; in any case, here is, let's call her one of The Mariae, in my Letters To The Mariae, part of the In The Name of Beauty & Truth Project, which thus far only really has the novel of that name associated with it;
 

- I've also been reworking my theory of the Black Lemon Market; it's a cross between a black market and a market for lemons; it's my critique of the contemporary art market, which I want to get into soon, but not right now and maybe not on this antilog blog; I do want to share a design concept I made that I want to use as a prop in a video presentation or what I like to simply call a Discourse, which I will record and publish on YouTube probably not too far into the future:

- Around 1am in the early morning of today, I wrote the following on Keep: "Scenes in the world, from a visual and auditory perspective, can have an uncanniness to them that I call historiophanic; that is, the whole "unified field-theoretic" experience, topologically, is imbued with a certain, given historical "sense", if you will, a "genosense" in particular, because it is historiomic in quality and characteristic."; I've actually been thinking a lot about auditory and visual senses as well as the regions of the brains involved in each of their processing, and also the raw processing power of someone like me who has an extremely complex, dynamic, and active mental life; I've been thinking as well how I resemble Dostoevsky physically, but then I seem to resemble all male artists from the last several centuries; here is a piece I made in 2009 I think it was, part of my "de radii" period:

- As I mentioned further above, I officially or unofficially, depending on how you look at it, have 2 Historiotheques, Historioteque 1 and Historiotheque 2, and will possibly open up Historiotheque 3 before the end of the year; I mention this again because I actually want to write something called The Twelve Historiotheques or just Twelve Historiotheques, or maybe even The First Twelve Historiotheques, as part of my The Nth Crusade novelistic phenomenology; more on this in due time, as I work through the archives, Dismantling The Archives, as I like to say, which I have been doing for a few years now, not literally "dismantling" them, but greatly reducing them, "shaving off the top", you might say; In any case, I also made an ATMOSPHERIC TONE piece, always with an actual field recording usually taken earlier that day; this one was from this afternoon, the field recording itself having been recorded at 13:44:

- Finally, I've been working a great deal of Design-Concepts for Novelistic Phenomenologies, which is an essential part of the new The Anatomy of Aesthetic Problems, which supercedes in a way my Workspace Theory which I have worked on of late, in the last month and a half especially, but whose geneses is already well over a decade in the making;
- That means that I've been working onfinishing and repackaging old novels, from the archives of course, as that is where I am most of the day these days, trying to preserve as much of my work as possble, archiving it online and in as many distributed archives as possible;
- I leave you for now with the following, which comes from my notes throughout the day, at more or less regular intervals; I present them as quotations, with a particular formatting for the timestamp:

- [01h30] => I continuously studied over decades what was most historically relevant and appropriate for an artist to create, what I called the "currency" or "currentness" of aesthetic composition. One must choose one's subject, and one's concept, according to certain immutable "laws" at the foundation of such judgments of taste.
- [01h43] => Aesthetic Problem => How does one portray, represent, treat of a given character in a novel? One needs to know their "neurotype"; one therefore needs to first create a "characterological sketch" or "esquisse caractériologique"; one needs to treat of the character as a whole "system" (the "Character-as-a-System" within the "Novel-as-a-System"); characters are personas that inhabit your mind, they can only exist in the human mind, also, though perhaps it could be proven that they exist in the minds of other mammals or animals in general, who at least are social, though maybe even perhaps a reptile who is NOT social may actually create in his reptilian mind, a representation of an outside threat that is a living creature, as }all life forms are attentive to all other life forms" [and must develop a systematic characterology of all of their basic personalities]);

- [02h08] => TEXTBOOK ART => Write at least the Design Concept for a Textbook on Workspace Management for Interdisciplinary Artist-Researchers in Variable-Geometry Workspaces" ("multiple-use").

ANTILOG_09June26a

"THE ARTIST IN THE FIELD." Self-portrait by A.G. (c) 2026. All Rights Reserved.

###

ANTILOG_09June26a

###

2026-06-09 05:32:26

- I began writing another antilog on the 8th of June, 2026, but never got around to finishing it or publishing it; Here is what I had written at the time:

2026-06-08 05:10:06

- Yesterday, I accomplished quite a lot of stuff; I ended up recording quite a bit of music, new music, some for my "DAYBREAK" album, some just my general, run-of-the-mill ambient, experimental sound design; I plan on recording new compositions for organ and piano soon, for my Seasons of The Heart Project; yesterday was a good day, as I said I accomplished quite a lot, the day was slow but just in the right way;
- I did a lot of research early in the morning yesterday, printing out materials, reading and highlighting them and taking notes, you know the general pattern by now; I can't really print stuff out when I want to, since I'm usually working around 4am or 5am, which is too early to run a printer which is as loud as mine is; still, I manage, I just do the printing after 8am, generally.

- Today, I will treat of the many novels that I have designed over the years, and also why most if not all have been abject failures;
- Unbeknownst to me, there was a fatal flaw in the Novel-as-a-System, my proverbial novelistic phenomenology;
- Essentially, the novels I designed were far too grand in scale and scope; they would require me to write 1000 pages for each;
- I decided, then, since I have literally dozens of unfinished novels in varying states of disrepair, that I would just start documenting the design concepts for my novels;
- I will try to stick as much as possible to a kind of design science, even though I am not a scientist by any standards; I did get a degree in design, specifically Computer-Assisted Sound Design; I eventually came to apply the design principles that I learned, but to my writing AND my visual art practice; it was easy, it turns out it's the same thing for any discipline, mode of expression, or genre;
- In the past, whenever I architected my next masterpiece and begun working its theory and outline, the course of history itself, and much grief and loss, interrupted me and interfered with my work, in such a way that the work was abandoned and scrapped, and I was never to return to it; it ended in trauma and the death of the artist's soul; now my biggest fear is being interrupted and losing my soul again;
- There's something wrong with the system, the works are too grandiose; they should be encapsulated in much shorter pieces; the novel, such as The Nihilist or In The Name of Beauty & Truth, are Design Concepts; in any given day, I can only write one single facet or module for the (Cultural) Software Library; I can't finish a 1000-page novel in one sitting, but I can "write" ("design", the concepts of) 1000 novels in one sitting; there is a tragic flaw in the narratological system that must be patched, corrected;
- I began treaing novels/novellas as "databases-of-images" back in 1998, back when I was working on a concept of Textbook Art, textbooks which weren't really textbooks, but were a kind of "disciplinary allegory" where the textbook that you were ready of whatever discipline was actually a mystical allegory; it looks like, say, a Physics Textbook, except everything is slightly wrong as you get deeper into the text; then you start having epiphanies; I also developed the concept of a "Surrealist Textbook" and also an "Abstract Handbook"; I've written countless pages about these design concepts, yet was never able to get around to actually writing them, and its a really difficult concept in the first place; then I thought of just writing a massive Glossary of Art History where I would treat of every known concept in art history and art historiography, aesthetics, the philosophy of art;
- These days, I'm thinking less about these grandiose mega-projects much of the time as I try to focus on more quotidian things;
- Don't get me wrong, it's great, I think, to try to build a Cathedral of Dreams, to have a Grand Vision, an artistic vision that you work towards with what I call holy ambition for the sacred journey;
- It literally takes a microsecond to come up with the design concept for a new novel, at least when you practice what I call the novelistic phenomenology; that is, it's really the Novel-as-a-System, a kind of simulation one runs in one's mind; the actual novel itself can take on a multitude of forms; the design concept is necessarily pluraL, as it can take many forms; I think, however, that I'm just going to try to write a page per day towards these novel-concepts, working on many different novels on any given day; I figure if I can write 10-20 pages per day, in 100 days, that's at least 1000 pages, if not 2000; or another way to look at it, 10 pages per day is 3650 pages per year, and so in 10 years I could potentially have written 36,500 pages, which is a lot of pages, more than enough to finish the totality of my novels that are extant, and then some;
- I will expand, elaborate, and extrapolate on this later on, if not today, then tomorrow or the days that follow; for now, I want to finish documenting what I never got around to finishing on the 8th, as mentioned above; it has to do with some more developments in my workspace theory; I quote it at length here; please know that these were just my research notes from yesterday morning; I always start the day with research, research of different depths, of different densities; this research was pretty deep; know that they are merely in note-form, really rough notes; you have been forewarned; here are yesterday's notes:

2026-06-07 05:37:13

- THE ALGEBRA OF WORKSPACES: 
- Workspace theory, autonomous AI agent integration, and topological workspace matrices, bring to the reader cultural and technology markets; the primacy of the continuous spatial field (le continu, Fernande Saint-Germain, les Automatistes); a painting is not a collection of discrete, isolated objects, but the unbroken relational manifold where every single intervention dynamically alters the energetic tension of the whole; by treating history, memory, and creative output not as a linear timeline (a Euclidiean grid), but as a relational manifold, I am essentially practicing a form of historical topology (SEE Rosalind Krauss, "Grids");
- My farmework dictates how the intellect navigates the archives => A research log placed next to an analog painting creates a conceptual voisinage (neighborhood) that alters the meaning of both (montage, literary, cinematic); Fernande: Western thought was crippled by its reliance on the discrete, linear nature of words (The 1D bottleneck of words, SEE: a Critique of the Podcast Circuit);
- She championed the non-verbal as a primary, hyper-sophisticated mode of intelligence ("spatial intelligence" and AI world models); My methodology of polytextuality ("Reading-Without-Reading", "Writing-Without-Writing") => The nonlinear manifold + somatic rhythm => I do not read texts in a Euclidean line => my simultaneous, nonlinear engagement with multiple texts and digital assets treat literature exactly how Fernande Saint-Germain treats a canvas => I am flattening the discrete nature of books into a continuous, spatialized field of ideas => her later work emphasized that the perception of space is a somatic, affective act; we feel boundaries, enclosures, and densities in our bodies; my physical oscillation between workstations, texts, and canvas is literal, bodily enactment of Saint-German's topological trajectories; the movement of my body through the studio space mirrors the movement of the eye across the continuous canvas; Refcard-as-Colpème => its true meaning is entirely dependent on its localization within my taxonomic schema;
- Stop and write a Refcard, Stop and write a Refcard; carry it to the other station, transcribe + carry it back; Write another Refcard, ad infinitum;
- Because my system must scale across complex projects, the relationship between the refcards must be topological rather than rigid (elastic taxonomy!); they must be able to stretch, deform ("gently") and re-cluster without losing their core relational integrity; when I rearrange my Refcards, I am altering their voisinage (proximity) and enveloppement (containment, "containerization"), transforming the continuous field of my research database (dB-ART) without tearing the underlying conceptual fabric;
- The workspace manifold; delta-workspace theory and topology, delta-workspace theory studies the dynamic, shifting boundaries (envelope, permeable/ipermeable, canvas) of focus, tool integration (technique-paintings, or action syntax cards), and creation production within the physical and digital environment;
- Enveloppement (enclosure) => the psychological and somatic feeling of being INSIDE the creative process (or Historiotheque workspace); the workspace as a protective womb or container (black box + secular temple) that stabilizes high-level abstract thought => topological invariants => succession (order); the operational pathways, habits, and oscillatory rhythms that guide my daily creative movement thorugh the studio;
- The workspace is not just a room with desks, etc.; it is a dynamic topological manifold that expands or contracts based on the somatic state and cognitive load of the researcher; (*DANGER: I cannot stress it enough, that this kind of work can be extremely exhausting, or worse; people can become decompensé / disorganized because of lack of experience navigating such spaces; it is therefore necessary for the Chief Art Operator to "set the tempo" for each workday; more on all of this soon; (sooner or later).

- That's it for now; I had a prolific day yesterday, the 8th; I wrote and recorded 3 or more songs; it's hard for me to count them since to me it's all just one song, the same song, it feels to me, that I play over and over across time and space, and also the truth of the matter is the music lives inside of me, welling up from within, as though I had a "spring of life" inside me in the inward plane; later this morning, I'm likely going to go to a family member's house to write and record some musical compositions for organ and piano; I'm falling asleep, as I have said multiple times, and will say many times more, I will come back to this sooner than later; I always follow the trail of breadcrumbs back to where I left off the last work session; tomorrow morning early in the morning, I will do some more review of the previous day and previous week, month, year; Stay tuned!