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_16June26a

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ANTILOG_16June26a

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- 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.

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ANTILOG_09June26a

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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!

ANTILOG_07June26a

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

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ANTILOG_07June26a

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2026-06-07 05:37:13

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

2026-06-07 11:55:10

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

2026-06-07 16:37:53

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

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

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

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

ANTILOG_06June26a

“THE ARTIST ON HIATUS” by A.G. © 2026. All Rights Reserved.

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ANTILOG_06June26a

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2026-06-06 08:08:32

- I woke up with an idea inherited from the past few days of research with a new or else modified research question; I immediately got to work on some new research, which I did and then printed out my notes on computer terminal no. 1, after which point I went to the main desk to read, highlight and takes not on the printed materials; Now I am taking these back to computer terminal no. 1 to transcribed them and use them as launching pad for more research (which I will print out and go to the main desk and start the oscillatory pattern or also dialectical/dialogical rhythm that my work across the workspace follows;
- Today's research thus far has to do with the application of my Historical Topology ("HistTop") to work that AI researchers such as Dr. Fei-Fei Li are doing with world models and spatial intelligence in AI; actually, it would be more accurate to say I am backing up workspace theory by historical topology and then taking the whole of that line of research and applying it to world model/spatial intelligence treated in by current AI research;
- One of the major differences between my work and the work of leading, cutting-edge AI researchers is that I am working through these problems - and their elegant solutions - manually through a physical workspace; granted, my workspace is also virtual, is a physical/virtual hybrid workspace, but still, a lot of the fundamental research into experimental design workflow management methodologies that I do - and concepts and theories that stem out of them, such as workspace theory - is being physically "worked out" procedurally in the workspace, but manually; at this point it's hard to say who is ahead of whom, whether the AI researchers are ahead of me, or I'm ahead of them; I just know that to the best of my knowledge, no one is doing the kind of work I'm doing on these methodologies and their respective models;
- So once again I'm stating for the record that AI world models need (a) workspace theory; what I'm working on at the moment specifically is the whole delta-workspace theory from its inception over a decade ago and what that means for just work in general by artists first and foremost but also with other types of researchers; I'm thinking of the idea itself of tracking "deltas" or "changes" ("indicators of change") in the workspace modeled as a continuously changing 3D surface or "workspace", but not in the way that you might think; it needs to be processed nonlinearly, and for humans this means nonlinear cognition and nonlinear practice; so the AI will need to start "thinking" (or "processing") in a nonlinear manner; more on this later;
- I have just finished more research at computer terminal no. 1, printed it out, and now will go read through it, highlighting it, taking notes in my physical notebook, and then I will finalize this morning's work by creating unique, atomic Refcards that I will later take back to the computer terminal no. 1 and continue logging, documenting, and working out the actual next phase of the theory itself; I will also print out today's antilogso far and read and highlight, take notes on that at the main desk; in the afternoon, I may record a video presentation of all of this or else take some audio notes, and will likely also do some low-level art production; Stay tuned...

2026-06-06 10:14:58

- I printed the new materials at computer terminal no. 1, took them to the main desk, then read through them, made highlights, took notes, then I put the most salient points on Refcards; now I am back at computer terminal no. 1 where I will transcribe them onto the computer, on Google Keep and in a .txt file on my deskstop (my main logfile for this workstation); This will then be the launching pad for a new line of research and then the process starts over again; I will also review the last week of work ("retrospective") and take notes on those; I also printed out the notes on the beginning of this antilog, as I said, and took notes on those; now I am back at computer terminal no. 1, as must be obvious by now, to start up the pattern of movement that will characterize the rest of the workday; (SEE: "Rhythms in The Workspace" project);

- I did the research, printed out the materials, then went to the main desk to read, highlight, take notes in the physical notebook, then make Refcards; at this point we are rapidly approaching the "point of saturation" from the distributed polytextual practice, after which I hope to record a video presentation; I still hold fresh in memory all the work I did on the Picasso-Braque collaboration and on Walter Benjamin's work, namely his idea of three-dimensional writing which spawned all of what came after; I hope to record myself standing at the chalkboard to go over this content but in the purely physical domain, through live note-taking on said chalkboard; I find it more instructive and pedagogical that way, what I am now calling histororiagogy.

2026-06-06 11:22:05

- I just finished reading and highlighting (at the main desk) what I had just printed at computer terminal no. 1; I also put the most salient points on Refcards, as predicted; I was studying some research on computational historiography which has many commonalities with my Historiomics/Historionautics frameworks; I looked at various datasets and platforms; I began thinking of my Switchboard Method in terms of dynamic task allocation which I believe came out of work in the military, you know, what they call duty cycle rotation; I also looked at what is called Network-centric self synchronization as well as the proverbial "operational valu chain"; I looked at two primary spatial frameworks on which navigation relies: the egocentric (self-centered, first-person, self-to-object) + allocentric (world-centered, third-person, object-to-object); somehow, I was able to connect this to research in phenomenological ontology, maybe I can get into that later;
- I was thinking about how time order matters; more importantly, though, the workspace is a historiotopia, its Surface is your immediate operational field => it is a 3D/4D canvas of immediate attention => The Geology (The Archive): beneath the surface is a vertical stratification of memory (w/ discontinuities, "gaps"; SEE: Michel Foucault's Discourse Analysis); I also thought about how my practice is already a multi-agent system: I function as a Painter, a Sound Designer/Musical Composer, and an Author (of fiction and non-fiction); I move from one role to another rapidly throughout the workday, across the workspace; I communicate with myself, making mental notes or "inner refcards" and also physical refcards, or "outer refcards";
- I thought about the structural capture of SILLAGE; SEE: my Phenomenology of Sillage; I also thought about my Breadcrumbs Method of leaving an audit trail, how it ensured that every single "mutation" in my work + workspace can be traced backwards, ensuring "reversibility", which is an important concept in The Feldenkrais Method; i.e. "Let's rewind the tape and see!"; once again, as I often do, I thought of the nonlinearity of the work + workspace, which I think might be the reason The New Documentation exists; more on the methods of The New Documentation later; I thought about how AIs suffer from "catastrophic forgeting" or context-window degradation because they treat memory like a flat text file; in Historical Topology or HistTop and the way I conceive my art studio + researcher labs, The Historiotheque, AI memory architecture should be built as a "Geological Archive" where past states are shifted into sub-space layers where they maintain their relational connectivity allowing the AI to PULL them back to the "Surface Historiotopia" instantly via adiabatic accessibility; more on adiabatic accessibility in the workspace, you can refer to my WORKSPACE THEORY document for a detailed, high-level explanation of that; also, agents should communicate through a shared "Unified Field of Experience" I am calling it, a shared workspace topology; I covered many other topics, from innovations in military technology over the last 100 years and stuff from just plain project management & organizational theory, but I will leave it at this for now; Now I am going to relax a bit, maybe take a short walk to decompress, and hopefully record a video presentation of my last week's worth of work and also create some art (and listen to some music plus do some planning for future recordings for my Seasons of The Heart Project as well as my Symphonie du Vieux Village (or Symphony of The Old Village) which I have been working on for the last 10 years; Stay tuned, more to come in this antilog, either today or tomorrow or in coming days. (Note: I forgot to mention "cognitive collapse", which is partly why dynamic task allocation and duty cycle rotation is so effective, and also what I call "workspace collapse" for short, or "workspace (function) collapse" to relate it to wave function collapse, though the concept is different. More on that later as well. I always review my antilogs, so I "capture" all the threads that end in "more later" and end up finishing the logical threads sooner or later."

2026-06-06 14:38:22

- The "operational historiotopic velocity" => by programming an AI to calculate Historiotopic Velocity, the AI can determine whether a human environment is in a state of continuous, gentle deformation (normal daily use) or a critical rupture (a crisis, or an intense creative session); It can djust its own "behavioral sensitivity" to match the velocity of the room (SEE: "ambient vectors" / "ambient room dynamics");
- "THE MASTERPIECE IS THE METHOD"; "the product is an illusion; the process is the architectu."; The true creation is the design of tte laboratory itself => The highly sensitive, hyperreflexive, perfectly audited engine of experience that allows those mutations to occur without losing its soul; A' = M(A), A-prime is the Mutation of A; Mutation-functions => material transformation, "transmutation", maybe dare I say a form of secular "transubstantiation"; The Historiotheque is a Secular Temple, it is a BLACK BOX w/ variable geometry where experiments of all kinds, universally, can be performed or "executed"; The workspace follows the Art Oeprator's art and research;
- The hyperreflexive workspace model of intelligence: Art Operations v.6.0.1 => We define intelligence as an active, self-recording system that navigates a folded, historical, multi-media environment; as active field of awareness and transformation; The Historiotheque as the Cognitive Surface; It is a multi-layered manifold where visual art, sonic architecture, functional text (code) + physical inputs (Refcards) exist simultaneously in a state of Polytextuality; They are localized "gentle deformations"of a single, continuous experience; (Whether I am painting, writing, coding, etc., the system measures deltas (or "indicators of change in the workspace", ΔW); This keeps the entire system highly pliable and hyper-sensitive to external signals, preventing the information from stagnating into rigid, uninterpretable states; (SEE: "interpreters" in computing; AND ALSO: permeable vs. impermeable boundaries or "envelopes"); For any transformation ("mutation", [M]) in the workspace to be coherent, the new state must be adiabatically accessible from the previous one;
- Again, "spatial intelligence and autonomous world models" is the theme of the day; In my practice, which is project-based, projects are treated as adaptive meta-agents (P_n); in a Historiotopic AI, different projects or modalities (text, audio, vision) are treated as adaptive meta-agents that co-exist in a game-theoretic environment (SEE: "Strategic Intermedia Art" [Art Operations], "Info-Ops Art", "Tactical Media"); The active layer hosts current processing while the sub-surface (The Archive) holds snapshots or savepoints; The archived states are never truly gone, they exert an active Atmospheric Sillage (a lingering wake or force) onto the present surface layer; The AI navigates its own past experiences based on their structural equivilence and resonance w/ the current problem ("Art is finding elegant solutions to aesthetic problems"), collapsing linear time to let historical insights actively shape future predictions => The laboratory-as-medium itself ("Intelligence is an ongoing Strategic Intermedia Operation");
- In conclusion, the 21st century is where people all became experimentalists; it's just that I was one of the ones who formalized it, the work, the workflow management methodologies, the workspace, the workstream, worldstream, etc.; We are all interdisciplinary artist-researchers now!

ANTILOG_03June26a

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ANTILOG_03June26a

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2026-06-03 16:25:36

- Stuff I did, in rough note form, since my last antilog (for preserving continuity): I was rethinking this morning about the concept I came up with yesterday of workstream + worldstream (*Edit: a concept which after research on "prior art" I realized already existed. More on this later, but check out Anne Zelenka if you want to know and also there are direct precedents for much of my theory in military technology, more on that later as well) => also I realized that my Art-Ops-in-a-box is in an actual box, a witness-box => I rehashed an old concept of a mobile recording studio, the Design Web Labs => was thinking that there are different kinds of refcards, actual bibliographic references, action syntax cards, moraltempcards, etc. =>
- I worked on a Global Research Schema + an ALX extensible schema v.1.0 => I did the Harlequin painting + Harlequin organ music that I recorded at dad's =>
- New concepts of mobilome, habitome, survivome, and interferome following the concepts of migrance, habitance, survivance, and interference => I created an antilog publication on Substack => thought more about methodologies of art and research practice => Thought long and hard about being transparent, accountable, being/working "in the light" => so many artists work and continue to work in obscurity => My applied Feldenkrais, the "texture" of movement, of experience + the rhythms of the workspace + of the old village =>

"HARLEQUIN". Mixed media by A.G. (c) 2026. All Rights Reserved.

- When I woke up this morning, I finished work I couldn't finish yesterday => yesterday was a bad day, it started out wrong, did not go according to plan => don't make major decisions when the workday takes a different turn, diverges suddenly and widely => new concept of the historiospheric worldstream => what I do is mainly internal arts + complex work streams + workspace to mirror complex systemena => working on concept of a "New Discourse on Methods => the systemenon is a system-as-phenomenon in the lab; there is the system in the field and the system in the lab, when we act upon it and make changes and experiment, it is a systemenon =>
- I need to reach "saturation point" from oscillating work sprints & continuous review to create creative tension and resonance, saturation => thought of film as documentary evidence, cinema-as-documentary-method, as documentation => the Exhibition in Tonal Cinema was lifestreaming before it was popular => "workspace (function) collapse" => hitting the reset button =>
- The experimental novel => focusing on the inward "pulse", rhythms of life => did comprehensive retrospective of May, 2026 output => I will do a prospective next for the coming seasons => beware too much standardization and systematic abstract formalization => art + research "heat death" where nothing means anything anymore, you need differentiation or "differentiability" =>
- Inject energy and noise to break collaborative equilibrium or stagnation in the workspace => let it decay and atrophy, it's okay, it is just a "slowing down" => 1. strategic action; 2. delta observation; 3. methodological review; 4. systematic reflection => I have essentially been making a series of "technique-paintings" without realizing it; I think I will make some of these more deliberately;
- The following was from around 10h00 this morning, something I didn't get to publishing until now: I transcribed the refcards that I just took at the main desk onto computer terminal no. 2 and then will print out the pages on computer terminal no. 1 after which point I will take the printed materials to the main desk to read, highlight, and potentially write more refcards => these refcards I made by reviewing all the work I did since my last "antilog" entry on my antilog blog, all with the intention of putting this in a new antilog entry where I want to include actual artistic artifacts I have made since the last antilog entry: I want to talk more and more about rhythms in the old village and in the workspace and also I want to make a video presentation of all of this.
- Here is the composition for organ I recorded called "Harlequin", recorded yesterday, June 2nd, 2026:

- The following is another recording I made, today June 3rd, 2026, called "Petit lapin dans l'herbe" ("Small rabbit in the grass"), based on actual experiences of seeing wild hares in the cemetery every morning when I go on my morning constitutional at dawn:

- And finally, this is the morning constitutional from yesterday, June 2nd, 2026 (I guess I didn't make any antilogs yesterday on the 2nd):

- Actually, one last one, a video also from yesterday, the 2nd of June, 2026, on the "music in the old village" as part of the theoretical background for my "Symphony of The Old Village" project ("Symphonie du Vieux Village"):