PROJECTS

EXTANT INTERDISCIPLINARY ART-RESEARCH PROJECTS.

ART-RESEARCH PROJECTS:

0. Pre-Exhibition in Tonal Cinema (1995-1997);
1. The Exbibition in Tonal Cinema (1998-2002);
2. The History-Project (circa 2001-2004); (with the reinvention of the History-Painting in July, 2001)
3. Developing The Novelistic Phenomenology Methodology;
4. Crackland & The Crackland Journals;
5. Diary of a Self-portrait;
6. The Legal Tender Project;
7. Notes on Picasso, Cubism, and Art Historiography
8. The Metaphysics of Art Movements;
9. The Manifesto of Process-Painting (2004)
10. Writing-Without-Writing;
11. Diary of a Serial Painter;
12. Rewrite Your Bliss;
13. Memento Mori (Novel);
14. Database Arts;
15. The Datatypes Project;
16. The Refcards-System; (+ moral temperature cards / "moraltempcards")
17. The Painter's Almanach;
18. Signal Science + Noise Field Theory;
19. The White Point Project;
20. The Archives-Project Novel and Interdisciplinary Art-Research Project;
21. The Historiotheque;
22. Integration/Disintegration Novel;
23. The Exhibition in Tonal Cinema part II;
24. Seasons of The Heart (secular liturgical song cycle);
25. Schizobot;
26. AntiOS;
27. Extreme Philosophy;
28. Critique (formalization of philosophy);
29. Catholica (formalization of Catholic doctrine);
30. ALX (rigorous design workflow management methodology);
31. The Stacks-Project;
32. Code Genres;
33. The New Documentation;
34. Théatre Pauvre;
35. The Internals-Project;

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WRITE-UP FOR PROJECTS LIST:

0. Pre-Exhibition in Tonal Cinema (1995-1997): This period consisted mostly in poetry and short prose, a brand and style of poetry that came to be known formally as "Tonal Cinema"; I wrote stories about something I called "Timefold" and "Storms of Ruin"; I also wrote songs for guitar and voice; I started my band with P.G.B., called "Tainted", for which I would write music for the coming years; it's where I really started to develop as an interdisciplinary artist-research, it's my "proto-phase"; I started developing my own style of painting, of music, and of writing;
1. The Exbibition in Tonal Cinema (1998-2002); this was a series of 16 novellas along with songs and paintings, that included a lot of research, which was also made up of poetic prose, and had the "tonal cinema" as a foundational metaphor, around which all the imagery and themes and concepts revolved; it was essentially a repository for what I called my "DATABASE OF IMAGES", containing hundreds if not thousands of "images" of things that I would later "refer" back to in my art and research, a real "database of images";
2. The History-Project (circa 2001-2004); (with the reinvention of the History-Painting in July, 2001); this was also an interdisciplinary art-research project involving painting, music/sound design, and fiction and nonfiction writing; it included a novel which was about a group of public intellectuals in Montreal, Quebec, who launched an interdisciplinary art-research project of their own, also called "The History-Project", the same name as the novel and MY project also; the project within the novel was an abject failure and the novel with the same name was also an abject failure;
3. Developing The Novelistic Phenomenology Methodology; this was the methodology for my novel-writing at the time, and was exactly what it sounds like, a novelistic phenomenology, a kind of "phenomenology of the novel";
4. Crackland & The Crackland Journals; this was an extension of The History-Project novel, which included its own unique, fictional physical cosmology with the land of Crackland at the top, with also a land called St-Elsewhere before it, and The Dream Assembly as another land-fragment, or cosmological "layer" to existence;
5. Diary of a Self-portrait; this was a daily journal of the creationg of a series of self-portraits, circa 2002-2004;
6. The Legal Tender Project; this was a painting project circa 2002 that was about the elegance of paper money, the aesthetics of paper money, how it looks "valuable";
7. Notes on Picasso, Cubism, and Art Historiography; I studied Picasso, Cubism and Art Historiography and wrote several hundred pages of original research on the subject;
8. The Metaphysics of Art Movements; I came up with my own unique Metaphysics of Art Movements, a theory about the development of art movements, their occurrence and spread across time and space;
9. The Manifesto of Process-Painting (2004); This was a manifesto about a new form of painting where I would apply various "treatments" in layers on a canvas; it was to be a new kind of painting for the new millennium;
10. Writing-Without-Writing; this was a project circa 2006-2007 where I imitated forms of writing in painting, mixing mathematical notation with cursive writing or what I called "arabesques" at the time;
11. Diary of a Serial Painter; this was yet another daily journal, but of the life of a serial painter this time;
12. Rewrite Your Bliss; this was a series of essays on "deterministic prison-states and their transcendence", where everything was fundamentally a "prison-state", like the prison-state of biology all the way up to the prison-state of physical cosmology, and yet these deterministic prison-states - because they were deterministic - could be self-transcended;
13. Memento Mori (Novel); this was a novel containing a series of stories which served as a kind of still life composition in text;
14. Database Arts; this is an aesthetic which has to do mostly with the relational model behind relational databases; it studies various "code genres" from the first hints of writing in history through to books, libraries, library catalogs, and other "data warehouses" up until the current-day emergence such as Blockchain technology a (distributed ledgers) and so on; it treats everything as a database as opposed to a more linear, narrative view of things;
15. The Datatypes Project; this was a project where I tried to use analogies from the real world to teach people about basic data types in code/programming;
16. The Refcards-System; (+ moral temperature cards / "moraltempcards"); this was a system I started designing around 2014 or thereabouts that was a database system which contained "refcards" which were digital "index" cards that contained concepts; each card contained one or a few concepts and the cards formed networks of cards called "cardboxes"; it was to be the repository of all of my documentation and art-research;
17. The Painter's Almanach; this was designed as an "almanack" but for painters, illustrating various times in the year and the themes and images and concepts that are appropriate for each time; it was a yearly calendar made for painters, with predictions and things resembling an actual Almanach/Almanack;
18. Signal Science + Noise Field Theory; Signal Science was a "signal-based view of the universe and everything in it" and Noise Field Theory was a "noise-based view of the universe and everything in it"; I wrote hundreds of pages of research and did visual and audio experiments in "signal science" and "noise field theory"; I developed a digital painting form I called the "noise field" or "noise field painting" which was exactly that, a field of noise, modulated noise-fields;
19. The White Point Project; this was a project where I used what I called layers of "infinitesimally off-white" hues, layered with dozens of layers, creating complex colors, which I called "The Dark Rainbow of Imaginary Colors";
20. The Archives-Project Novel and Interdisciplinary Art-Research Project; This was a sequel to The History-Project novel with a new story about a new project called "The Archives-Project" where the same host of characters engage in a new project, first launching a "pre-mortem analysis" of the new project as well as a "post-mortem analysis" of the old failed project; they are trying NOT to have this new project fail; the "Archives_Project Novel and Interdisciplinary Art-Research Project also contains works of painting and music/sound design;
21. The Historiotheque; the Historiotheque is the name of my art studio and sound design + research laboratories; it is a modular space with "variable geometry" as it can function in the day as an art studio and then later on as a sound design labororatory or a research lab at any given time; the space is "modular" in that sense; it is designed as a form of "cultural software" where I give Official Releases every now and then of the Historiotheque AS operating system; The Historiothèque, the name, is inspired in part by Paul Otlet’s concept of “Mondothèque”, in his conception of the Mundaneum in general; The term Historiotheque is a term I made up, basing myself on the Greek ἵστωρ (hístōr, “witness”) and θήκη (thḗkē, “box, chest”), essentially making it a Witness-Box; The simple idea was as with the original conception of the Art-House, namely, that it would house a studio space a.k.a. The Art Operation as well as an active Archive; The Archive would contain the entire documentary of the Historiotheque as well as kind of be a History-House for the local culture of The Historiotheque, and by active archive I meant that you would have archivists working in the archives every day; The Archivists would have the basic function of bringing value to the archive, essentially being like a Library for all the Documentation of the art practices and work methods of The Historiotheque;
22. Integration/Disintegration Novel; this is the third novel in the trilogy of novels called "The Revolt of Fiction" that started with "The History-Project" and "The Archives-Project"; it is written in a new style of prose poetry that I invented which is a sequence of half-finished sentences, or fragments from the middle of imaginary sentences; the prose is evanescent and ambiguous and vague; like not fully formed thoughts, in between realms of images and thought;
23. The Exhibition in Tonal Cinema part II; this is a sequel to the original "Exhibition"; it has several chapters which are reminiscent of the original "Exhibition", all written in the same kind of poetic prose; as stated, it is a sequel to the previous sequence of 16 novellas, it's "epitome", forming a NEW DATABASE OF IMAGES with the same basic function and purpose;
24. Seasons of The Heart (secular liturgical song cycle); it is what it sounds like, an interdisciplinary secular liturgical cycle, of songs, paintings, and accompanying texts, based on the idea that the heart has its own seasons, and is made up of reflections on the passage of these times and seasons; it will include approximately 300 or 400 songs mostly for organ and piano; there should be a piece of musical for every "season" where "seasons" can be any moment in time over the year, what I call "Qualities of Time" (QoT);
25. Schizobot; the stupidest system in the universe; it was designed as a replacement for myself as interdisciplinary artist-researcher;
26. AntiOS; this is an operating system that I have been working on for the last decade or so; it's designed to be the perfect work-station for knowledge workers;
27. Extreme Philosophy; this is a piece of software I developed about 15 years or so ago and is meant to be "extreme philosophy for exteme times"; there is, however, no functional software to date, just philosophical notes;
28. Critique (formalization of philosophy); this is an abstract formalization of philosophy which I have been working on for over a decade or so; it should have modules that correspond to concepts in philosophy;
29. Catholica (formalization of Catholic doctrine); this is similar to the "Critique" except it's an abstract formalization of the doctrine or dogma of the Catholic faith;
30. ALX (rigorous design workflow management methodology); this is the name that I have given to my "rigorous design workflow management methodology";
31. The Stacks-Project; experiments in archival science with physical sorting algorithms; The Stacks-Project was an idea I started many years ago that came from my daily art-research practice, where I am constantly manipulating Stacks of books, folders, papers, index cards, etc.; It also came out of The Datatypes Project, mentioned above, where I wanted to take basic data types and data structures in theoretical computer science and programming and find analogies for them in everyday life; The Stack abstract data type became a kind of metaphor for what I was already doing in my daily work, especially when I do archival work, where I Sort through large amounts of archival materials; I didn't set out to become an archivist and in many ways, I want to STOP being an archivist and work of Dismantling The Archive as I am now calling it;
32. Code Genres; I began writing about this recently, the idea of studying computer programs, code, applications, etc., in terms of "genres"; The idea is to treat code as what it actually is: text; Since code = text, then it is possible to treat source code, applications, etc., in terms of "code genres", if you will (a.k.a. "application genres"); First of all, by looking at code genres, we are presuming that computer applications have "genres" as works of literature or painting or music do; Secondly, we want to "inspect" the various code bases to see how they are structured; In the end, we are treating "computer code" as a form of "literature" (text) and so it will also have its own "discursive structures"; That is, the application itself is part of a "discourse", with its own universe of discourse/domain of discourse, discursive structures, and so forth;
33. The New Documentation; I am thinking of a New Documentation for software projects, but applied specifically to contemporary, interdisciplinary art-research practices; I think that a software project, if it is truly open source, has to be "accessible" to non-experts; It is more and more true today, and will be even more true in the future, that source code is being "read" by non-experts, by non-programmers, non-coders; That is to say, more and more, code is not only being handled by the "experts", the engineers and so forth; What happens is that more and more people are having to work with code sets; For example, more and more companies today are essentially software companies; Software is touching everything today, and it will only trend upwards in coming years and decades; So what you have is that in any given company that you might be working in, there will likely be source code, a code base of some sort; And even if you are just a manager or whatnot, an individual with no expertise in actual coding/programming, you are still increasingly likely to be interacting with code created by your company; And so you may need to actually LOOK at the code itself; That is what the New Documentation is, in part; It means adding annotations or comments, or just plain documentation designed for non-technical-experts; As stated above, individuals working in companies across countless industries will increasingly have to deal with engineers, programmers, and their code bases; A manager, for instance, cannot truly do his/her work if the code and the engineers' work is in a "black box" somewhere, untouchable; Ergo, one needs to make source code READABLE TO NON-EXPERTS;
34. Théatre Pauvre; this was a project I started about 10 years ago; it is a Theater which values ​​the actor's body and his relationship with the spectator and ignores costumes, decor and music; I wanted to experiment with this concept and apply it to my rigorous and comprehensive design workflow management methodology and my interdisciplinary art-research practice; other than that, the project remains in a gestational stage, I haven't worked very much on it over the last 10 years since its inception;
35. The Internals-Project; The Internals-Project basically is a philosophical critique of the concept of "Internals" as it is found in theoretical computer science, in programming languages such as the "Internals" of the Cpython implementation of the Python programming language; it looks at the concept of "Internals" in the most generalized manner;

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