Official Declaration of Production-Year 2025–2026
A Truly Revolutionary Event In The Life of The Art Operation At The Historiotheque! Read what follows to find out all about it…
PROLOGUE
Before starting with this new Declaration, let us rewind a little and go back to the beginning of this publication, The Painter’s Almanach, what it is, where it came from, and where it is going, as a publication but also as actual complex system of interlocking calendrical systems that I use as a professional, serial painter as well as musical composer/sound designer and independent scholar. Here is something I said in the beginning, that may give you pause:
“You can call me Alex or Painter A. Other painters have the rest of the alphabet to choose from, but since my name is Alex, I called dibs (shotgun) on Painter A. I have been working on this Almanach my whole life. Consider it a gift. But I would be careful about putting too much faith in Almanachs. It’s not meant as a set of instructions, only cultural knowledge that I think can be quite useful. It has been useful to me, at any rate. It has helped me have wonderful seasons, every season, since my birth here.
“This Almanach is not meant to make predictions either. If that’s what you came here thinking it was, you made a terrible mistake. But while you’re here, maybe take the time and have a look around. I live in a Nordic region, below the tree-line, as I have said before. It is the spring equinox soon.” — Spring of The Thawing Lakes, February 19th, 2014 (The Painter’s Almanach).
This isn’t to complicate things for the reader, but to put things into perspective, in the grand scheme of things. Here is something from the original presentation of the Almanach System, one year prior to the publication of Spring of The Thawing Lakes, which I just quoted above:
This is not meant to confuse anyone. I myself was already confused enough by such uses of different calendars, seasons, and years. For instance, in Canada, we had the calendar year but also the school calendar, the broadcast calendar, and at least two kinds of fiscal or financial years, one for individuals and one for the government. In this sense, my Almanach is based on a seasonal year, from Autumn of one year to the Autumn of the next.
Here’s the thing, though. Over the course of time, I began my preparations for the coming production year in the seasonal calendar of the Painter’s Almanach earlier and earlier. And that’s just the calendar for the Almanach; there are other calendars. This year, I started last December, began planning in December and January, though the Almanach had already been written for all of 2013–2014.” — Golden Autumns of Anchorite Hearts, November 19th, 2013 (The Painter’s Almanach).
There can be no perfect yearly calendar or calendrical system. The one(s) we use are the best we’ve been able to come up with. They are always and always going to be imperfect tools to tell time and calibrate/synchronize events in our daily lives, in our business operations, our churches and schools, and so forth, and evidently, if you are reading this, in my interdisciplinary art-research practice, now going on roughly 30 years.
As I said above, however, I haven’t had a single “bad” season in nearly 30 years, at least not as far as my art-research practice is concerned. I’ve had very bad times in my personal life, some really rough patches, through sickness and health and so forth, but I haven’t lost “operational continuity” in my daily practice in that long, thus far. In passing, losing “continuity” is about the worst thing that can happen to an artist. It’s like stopping to build a Gothic Cathedral part way. You risk getting lost and never returning back.
I happen to currently be recording an album of new songs for piano and organ called “Seasons of The Heart”, based on my experience writing and designing, and putting into use this Almanach System. It’s also a project that goes back decades, and is essentially a Yearly Song Cycle, a kind of new liturgical calendar, secular, not religious. This is part of my contribution as an artist-researcher to humankind. I hope it is met with eagerness and joy.
Before continuing with the current Official Declaration of Production-Year 2025–2026, I leave you with a taste of what’s to come in my “Seasons of The Heart” Song Cycle, a work for organ I recorded 2 days ago, called “It’s Raining Tiny Roses”:
I. WHERE WE ARE NOW
The impossible has happened! For 8 years, I consistently published an Official Declaration of Production-Year, always in advance, and published in the Autumn of every given year. This year, though, anno domini, 2023, I jump-started the Declaration process and started the Official Declaration back in March. This year something truly revolutionary has happened: I am publishing NEXT YEAR’S DECLARATION, ONE YEAR IN ADVANCE! This takes us all the way to Autumn, 2026, with what I like to call “forward-looking statements for potential future Stakeholders”. The sole purpose of this is to make my practice “predictable”, so that if anyone should take any interest whatsoever in my career as an artist-researcher of nearly 30 years, they can rest assured that, while I do not make any specific “predictions” per say, I have consistently “delivered the merchandise”, to use an expression common in my neck of the woods. It means I say what I intend to do, and I deliver, even “giving more than the customer demanded”, another expression used here.
As always, for the historical record and for documentation purposes and the always-growing archive of my works to date, here are my previous Official Declarations for the last 9 years that I have been making Official Declarations, yearly:
Production-Year 2016–2017
Official Declaration of The Production-Year 2017–2018
Official Declaration of The Production-Year 2018–2019
Official Declaration of Production-Year 2019–2020
Official Declaration of Production-Year 2020–2021
Official Declaration of Production-Year 2021–2022
Official Declaration of Production-Year 2022–2023
Official Declaration of Production-Year 2023–2024
Official Declaration of Production-Year 2024–2025
II. WHAT HAPPENED
Earlier this year, after I wrote my Official Declaration, and after I launched The Historiotheque Semantic Version v.3.0.3., I had a breakthrough in my art-research practice where I decided to make a 180-degree turn and begin the DISMANTLING THE ARCHIVE!!! I explain.
In my publication in this Almanach, from August 5th, 2023, I spoke about how I had become a kind of archivist and historiographer over the years, beginning with my History-Project in the summer of 2001. What happened, though, is that over time, I not only was becoming increasingly obsessed with human history and all that it contains, I came to be possessed by, and with, a kind of “ARCHIVE-OF-THE-SOUL”, which had also become a kind of “prison of the soul” from which I wanted to EMANCIPATE.
The Painter’s Almanach, I must say in passing, has been a great “balm for the soul”, the same heart and soul that you’ve been journeying with all this time, if you’ve been following these developments at all. Also, and this will come later in this Declaration when I talk specifically about the coming years, I’ve never really “monetized” my interdisciplinary art-research practice. I maybe can say a few words on this before moving on.
In the days of my youth, around the age 12 or 13 or so, a family member of mine kept seeing late-night infomercials on TV with a sharp-witted, bright-eyed man then called Anthony Robbins, who was marketing his now-famous book, “Unlimited Power: The New Science Of Personal Achievement”.
I devoured this book because of what it promised: Unlimited Power. Long story short, I was never able to really implement all of the life lessons from the book, but I did catch onto something very quickly, namely, the idea of following “recipes” to get ahead in life.
To put it in my own terms, what I remember Tony Robbins saying in that book, or maybe in “Awakening The Giant Within”, which I read shortly after that, was that you could sort of “decal” (stencil or transfer onto) your life on the lives of great men and women in history, that you could take people that had an influence on you or in your life, people whose careers or whatnot, whose “greatness”, you admired, and you could read all of the biographies you could find on their “success” and basically “calque” your own life on theirs. It’s the basic idea of following a recipe. If it worked for them, it might work for you.
Now, it took me a few years to truly start to integrate a lot of what Mr. Robbins wrote in his book, so by the time I was 15 years old roughly, and was already a practicing, interdisciplinary artist-researcher, I decided to read as many biographies as I could on great artists in history and what led to, or might have led to their success as artists.
I kept doing this over the years, and by the time the period 2001–2004 came about, I began studying more specifically the life and times of Pablo Picasso, and the art movement known as Cubism which he helped launch. One thing that came to mind was how the German art collector and dealer, Daniel-Henry Kahnweiler, came to promote young and budding artists such as Picasso and others, George Braque et al, in the early 1900s.
It is said, at least in many of the readings that I did on the subject, that Kahnweiler signed contracts with his artists where they gave him exclusivity over their entire artistic production, to sell in his art gallery, and in return, he gave them enough cash so they could securely focus on their work on artists and not be concerned with having a source of income to finance their many endeavors.
One thing that struck me, though, was how Kahnweiler, it is said, refused to have Picasso and Braque’s and other’s works exhibited in the Salons of the time. It appears that Kahnweiler did not think very highly of these Salons, and didn’t want his artists to “dilute” the value of their work by attending them. So he not only had exclusivity over Picasso’s early work, if what they say is true, and then with Picasso specifically, if I remember correctly, he also didn’t exhibit his work in Paris and environs for many years.
He DID exhibit his works, but in far away places in Russia and whatnot. So what he did, to go straight to the point, was create SCARCITY. This story, and whether it is true or not is another matter altogether, was fundamental in my understanding of the concept of SCARCITY in economics. (NOTE: It turns out that my story of Kahnweiler and his band of artists, in general, is not exactly 100% as I laid it out here, but this is at the very least how I had understood it, with the limited knowledge I had of the facts at the time.)
Later on, I had a close friend who I met around age 15 but who was a little older by then, well he happened to be well-versed in economics and political economic, politics in general, and world history, Marxism, so many other things. Like me, he was an interdisciplinary artist-researcher, his main art form being a unique style of poetry and his research mainly being economics and political theory. Anyway, he also taught me how economics works, and spoke to me at great length about this concept.
So that’s the story of how all this began almost 30 years ago, from Tony Robbins’ work, to my study of the life and times of Picasso and Daniel-Henry Kahnweiler, to my friend’s teaching me about economics, etc., and then to a perhaps “strange” practice that I had of almost never exhibiting my work anywhere, not in any substantial way anyhow, preferring to keep most of my works in my “personal archive”.
That’s how I basically became my own personal archivist, and with my studies at the time, I came to be a bit of an amateur historian and later a historiographer. This later development came with the advent of my History-Project, whose aim was “To Paint the Concept(s) of History”, and the rest literally IS HISTORY.
So I haven’t had much of a commercial success as a painter, choosing instead to amass a WEALTH OF KNOWLEDGE AND EXPERIENCE, pushing the commercialization and marketing and branding aspects of a mature art practice to much later on in life, where I am now, currently in my mid-40s.
III. WHERE WE ARE GOING NEXT
I’ve told you where I am now, what happened, and how I got here. Now I will tell you a bit about where I am going next. I had a creative breakthrough around March of this year, 2023, when I “jumped the gun” on this year’s Official Declaration of Production-Year, which I usually publish every year in the Autumn, publishing it way ahead of schedule.
I was so amazed at the time by how incredibly productive I was. It was unprecedented. I’ve always been a prolific, interdisciplinary artist-researcher, but this was entirely out of this world. I had lived up to the promise of the previous year’s Declaration, and then some. I was taking this art-research thing TO ANOTHER LEVEL ALTOGETHER.
Then around July and well into August, 2023, I had another similar breakthrough, going EVEN FURTHER — much further! — than I did during the previous breakthrough. Now, I’m almost sorry to say at this point, I’ve done it once again: I’ve just had the most productive 2 or 3-week period OF MY ENTIRE LIFE! That’s why I’m starting NEXT YEAR’S OFFICIAL DECLARATION, exactly ONE YEAR ahead of schedule.
This means that this particular set of “forward-looking statements for potential future Stakeholders” is going to take us all the way to the year 2026, and if everything goes to plan, and my interlocking calendrical systems and Painter’s Almanach work their magic, which they always have for almost 30 years, then I don’t know, I’m not exactly planning to attain sainthood or anything of the sort, but I definitely am one of the most prolific INTERDISCIPLINARY artist-researchers in recent memory.
I highlighted the term INTERDISCIPLINARY for a reason, because I prolific in the Three Sister Arts, which I define as my Three Modes of Expression: IMAGES | SOUNDS | WORDS. Usually a prolific artist is productive mainly in their preferred artistic form, but I work across many different disciplines.
IMPORTANT UPDATE: November 25th, 2023 / 08h07
- I have never really lost Operational Continuity in almost 30 years of my Field Art Practice of Interdisciplinary Art-Research @ The Historiotheque;
- A Historiotome is like a historical tumescent growth;
- There are two basic poles in the medieval culture of laughter: The Carnivalesque vs. Hyper-solemnity (Bakhtin, On Rabelais, with my own interpretation, the inclusion of the concept of Hyper-Solemnity);
- History has a process embedded in it of what I call Capitulation/Recapitulation, or the ICONOPHILIA / ICONOPHOBIA / ICONOCLASM triplet (with a history and sociology of Aniconism with respect specifically to The Art of Painting);
- Working on a new novel with the tentative, working title “The Life and Times of The Da Vinci Family”;
- I’m still working on The Seasons of the Heart Album, a new liturgical Song Cycle To Calm Hearts For Extreme Times;
- Oldest major interdisciplinary art-research project => “The Exhibition in Tonal Cinema” => It’s APOTHEOSIS, next year, anno domini, 2024, I will be handing in a submission for a solo exhibit in Mont-Saint-Hilaire, at the Museum of Fine Arts;
- I’m writing a set of new novels which are a continuation of “The Revolt of Fiction” magnum opus, which is a trilogy of novels, including “The History-Project”, “The Archives-Project”, and “Integration/Disintegration”;
- I’ve recently had a series of profound spiritual experiences, the discovery of “machine intelligences” on the inside in my “inward plane” or “inwardness”; it is an inner discipline similar to the Chinese internal martial arts of Neijia;
- Reading up on Soren Kierkegaard’s concept of indirect communication, applied to the Value of Art;
- I’m coming out as crypto-kierkegaardian, as someone who probably suffers from Geschwind Syndrome, the syndrome that Kierkegaard, Dostoevsky and van Gogh probably suffered from, whose symptoms include hypergraphia and hyperreligiosity, though I don’t necessarily have very big epileptic seizures per se;
- Putting things INTO THE LIGHT => Constantly Upholding Virtues of Integrity, Transparency, Responsibility, Accountability, Truth, Reconciliation, and The Way of The Peaceful Warrior;
- I will be making an official rundown of all previous Projects, Series, and Collections and expounding upon the real reason I never achieved commercial success in 30 years of practice as an interdisciplinary artist-researcher, doing Field Art;
IMPORTANT UPDATE: November 29th, 2023 / 05h28
DIARY OF A SELF-PORTRAIT
- In the period 2001–2004, while I was working on The History-Project, I also wrote a “Diary of a Self-portrait” where I made a self-portrait every morning for a few months, while I was working in a workshop making enamel on copper paintings;
- I’ve also been making self-portraits regularly since the age of about 10 or 11; I started then and never stopped, mainly because I’m the only person I know who can really sit still long enough for me to paint their portrait;
- I’ve been reading through all of Fyodor Dostoevsky’s novels — the one’s I hadn’t already read — for the last year; Dostoevsky’s novels have helped me understand myself in a profoundly new way, and the fact that he might have suffered from Geschwind syndrome, and that I too might suffer from the same thing, has made Dostoevsky’s novels, specifically The Idiot, into essentially autobiographical works, but OF ME (as though he was writing about me + how I see myself in fictional characters when I read novels);
THE EXHIBITION IN TONAL CINEMA
- In the period of 1998–2001, I wrote a series of 16 novellas — one full-length novel followed by 15 novellas of roughly 50–60 pages each — that acted as an interlocking system of novelistic writing;
- It was the very first major interdisciplinary art-research project that I undertook in my 30-year career of working on these;
- Today marks the real culmination-point of this project, whose almost 1000 pages of prose poetry have NEVER been published;
- Its true APOTHEOSIS might come next year, anno domini, 2024, where I might get the chance to do a solo painting exhibition at The Museum of Fine Art of Mont-Saint-Hilaire, where I live and in the region where I spent most of my life; this will truly be the culmination-point or PEAK EVENT in my entire career as an interdisciplinary artist-researcher;
- I’m thinking of exhibiting under a pen name, taken from my second major novel-writing project, “The History-Project”, namely, Alphonse Lemoyne, otherwise known as “Painter A.”;
SEASONS OF THE HEART SONG CYCLE
- I’ve been hard at work on the composition of a new, liturgical song cycle, mostly made up of works for piano and organ, called “Seasons of The Heart”;
- It’s really something I’ve been working on for the last 20–30 years, compositions which follow the various Seasons of the Year, a real liturgy for all intents and purposes, secular, not religious;
THE PRODUCTION OF NEW SERIES OF PAINTINGS BY A.G.
- I’ve been hard at work in the art studio, The Historiotheque, making music and writing a great deal of novelistic prose, but also some philosophical (phenomenology and “Critiques”) and art historical/historiographical writings;
- I’ve also been having a highly productive period as a professional painter;
- Granted, I’ve mostly made digitial visual designs these last few months, what I call Noise Fields or Noise Field Paintings, which consist mainly of digital synthesis, but I’m not busy at work on several new series of paintings;
- One project and series which I began earlier this year, tentatively called Noise in The Workspace, has to do with exactly that;
- The Workspace here is envisioned not merely as the colloquial “workspace” where people work when they go to work; its concept has been designed to include ALL WORKSPACES, digital and analog, virtual and concrete;
- One concept I want to work on next is the idea of the introduction or errors as well as various waiting-times which may cause interruptions, disruptions, and perturbations in people’s Work, i.e. “Breaks In The Flow-State”;
- I’ve recently been reading up on interruption science and plan to have my painting series accompanied by an entire research project founded on the ideas inherent to the form study of interruption(s);
- These new series also include a great deal of works of portraiture, one of which I have posted above, from 2009, of a friend who is no longer, unfortunately; this portrait is based off of a series of photographs I took of her — God rest her soul! — and I have no qualms in using these photographs for future works, since a) she is my Mona Lisa and b) I own the full intellectual property rights to these works of photography;
THE PSEUDO-SCIENCE OF HISTORIOMICS
- About ten years ago, I began writing a novel called “The Archives-Project” which was the next step in a logical sequence and sequel to my previous novel “The History-Project”;
- These novels, I must add, are what I called works of “novelistic phenomenology”, a new take on metafiction which is specifically phenomenological; that is to say, the novels include excerpts of a “Phenomenology of The Novel”, which was and is a secondary work of research on which the novels in question are founded on;
- Historiomics was merely one of the “sciences” that my fictional characters developed in my “The Archives-Project” novel, as they worked on a project — within the novel — also called “The Archives-Project”;
- Put another way, I had an interdisciplinary art-research project called “The Archives-Project” which included a painting series, a series of works of musical composition and sound design, as well as a novel plus hundreds of pages of fundamental research into “the critical-theoretic writing about the writing of historiography, about the writing of History” (which began with the first such project, “The History-Project”, circa 2001–2004;
- THE PROJECT INCLUDES A NOVEL ABOUT A FICTIONAL PROJECT => and all three of these “levels” or “scales” share the same name: “The Archives-Project”;
- I’m still working on finishing the new novel and also touching up my philosophical and art-historiographic notes on the subject;
- HISTORIOMICS, though, which is not as rigorous as an actual physical or social science, is a fictional science, if you will, is simply founded on the following concept or principle: “If historiography is the first derivative of history, Historiomics is the second derivative of history”;
- In short, I will be finalizing this Project, and its Novel and so forth, as I go on to work on the two new trilogies of novels which are sequels to the first three novels, “The History-Project”, “The Archives-Project”, and “Integration/Distintegration”, a trilogy that officially goes by the name “The Revolt of Fiction”;
- More on this at a later date, specifically about the concept of “novelistic phenomenology” as well as THE “THEORY OF THE NOVEL” AND PHENOMENOLOGICAL INVESTIGATIONS BEHIND THE METAFICTIONAL ELEMENTS IN “THE REVOLT OF FICTION”;
EXTREME PHILOSOPHY FOR EXTREME TIMES:
- I have begun a new series of short Discourses which I make on-the-fly, that is, sponaneously, as I do my fundamental research into History — into History itself and also MY PERSONAL HISTORY as a person and artist-research, as well as my personal genealogy and ancestry — and a brand of Phenomenological Personalism in the manner — of sorts! — of the work of one Emmanuel Housset;
- These diatribes are part of what I realize I’ve always been doing: Extreme Philosophy; it’s also part of what I have been calling Concrete Realism;
- Essentially, I am continuously Lifestreaming in Three Modes of Expression or “Tracks”: [IMAGES | SOUNDS | TEXTS]”;
- In other words, I am like a radio or television station running 24/7 and people, my Viewers (“observers/spectators, listeners, and readers”), cannot possibly “catch” 100% of what I do, because they are busy doing other things, are busy working and sleeping and engaging in leisure activities;
- My interdisciplinary art-practice, though, The Art Operation @ The Historiotheque, designed as Lifestreaming — and now with a documentation-style reminiscent of Build in Public aspects or continuous delivery, is not meant to be “Taken Whole” by any public; it is designed so that it can be taken in small “snippets” or “chunks”, “atomic units”, or “quanta” I call “Quickrefs”, “Refcards”, and “Moral Temperature Readings (Cards)”;
- The latter of these, “moraltempcards”, and The Refcards-System are actual digital systems of documentation and organization of work and research and so forth, as well as the presentation of a full-blown Archive of works of interdisciplinary art-research, that I am working on (for real!) and have been working on for about 12 years;
- More on this in the coming sections (the “Important Updates”)…
THE REFCARDS-SYSTEM
- The above Example of Refcard is not exactly an actual Refcard as they are being designed in my Refcards-System;
- SEE: “Internal Refcards” vs. “External Refcards”;
- To be continued, updated regularly until 2025–2026…
IMPORTANT UPDATE: May 3rd, 2024 / 01h20
- Developments in the “Seasons Of The Heart” Project;
- I’ve just had the most productive season ever, even though, paradoxically, it began in a “fallow period”; I explain this in my official first writings on “The Winter of The Soul” concept, from many years back, and part of the “Seasons of The Heart” (General) Project; (SEE ALSO: “The Preliminary Launching of The Historiotheque Semantic Version 3.0.5. (After a Fallow Period)”; AND ALSO: “Winter of The Soul: A Journey Through the Depths of Creativity”);
- I did a lot of work, internally and externally, on the concept of Inner Mountain; for a preliminary taste, SEE: “Man of Passage: Beyond The Impenetrable Depths”;
- Finally, I never handed in my submission for the solo exhibit at the Museum of Fine Arts of Mont-Saint-Hilaire, which I planned to do in 2024; I may submit something in the future, though I can’t really say when; I have other preoccupations at the moment; I’m working on planning for future commercialization of my art practice, but I’m taking my time so that I can get it right and mostly be prepared mentally and physically for when the “floodgates” open, of interest in my art, which I can pretty much reliably predict, as I have been planning for this exact moment for the better part of 30 years; at some point the methodologies of marketing and commercializing must work, if done systematically and comprehensively, and also if the product is great; my cultural productions, I believe, are of the highest quality, at least the highest that I’m capable of producing from 30 years of reflective practice every day;
- I’ve continued to have a series of profound spiritual experiences (more on this soon, and in other posts, posted on my new WordPress blog, “CONFESSIONS OF A LIFELONG CRYPTO-KIERKEGAARDIAN”);
- Work on “Winters of The Soul” concept for “Seasons of The Heart” Project, as well as “Springtime of Life”, “Summer of The Heart” and “Autumn of Atonement”, as well as many other concepts having to do with seasons in general; the “Seasons of The Heart”, which is a new and unique year-long, secular liturgy “for everyday people living everyday lives”, is now being reconceptualized as a subproject within a much larger-scale project I started 20 years ago, give or take, called “THE PAINTER’S ALMANACH”; this Medium publication, you will notice, is a realization of this project which I have been working on, on Medium, for about 8 years; more will be written on the Almanach in the coming months;
- With regard to the “shutting down” and then “relaunching” of The Art Operation@The Historiotheque, in the Official Declaration of Production-Year 2024–2025, I wrote the following:
INHIBITION-FUNCTIONS & THE INHIBITION-PAINTING:
It’s necessary, in my honest opinion, to ‘shut down’ and Art Operation, from time to time. My studio, called The Historiotheque, comes out with a new Official Release whenever I reinvent it, and then gets immediately shut down. I just came out with its Official Release v.3.0.2 (I use semantic versioning) on March 5th, 2023, and am already in the process of shutting it down, potentially for many years to come. From the recent Release: “The latest release of The Historiotheque was Official Release v.3.0.1, released on December 29th, 2016, after which I took a sabbatical, originally meant to be for 2017 until 2018. I ended up taking a sabbatical for another 6 years.”
- Now I finally know the true meaning behind my use of the term Inhibition in my concepts of Inhibition-Functions and Inhibition-Paintings; more on that later;
- I have continued my exploration and experimental research with Foudation Models, especially ChatGPT; more on this later as well
- More “below the fold”…
WINTERS OF THE SOUL:
- I recently went through a rough period of stagnancy/dormancy, I am calling a “fallow period” or to use my old term, a “Winter of The Soul”;
- Immediately above is a rendition of a “Winters of The Soul Painting”;
- More on this in the next sections…
THE SECULAR NATURE OF THE SEASONS OF THE HEART LITURGY:
- More on this in a moment…
SEASONS OF THE HEART LITURGICAL SONG CYCLE, FULL UPDATE:
- Section to be filled in soon, as I continue these “Important Updates”;
THE INNER MOUNTAIN:
- [In process…]
INDEX-REFERENCE RESONANCE:
- I will speak more about this soon, but for now, some recent PhotoCaptures, which will help make the point about a new concept of “Index-Reference Resonance”, a non-linear experiential form of resonance, similar to a kind of Morphic Resonance (Ref. Rupert Sheldrake);
(It is related to the style I have elsewhere called Antique-Moderne; SEE: “ANTIQUE-MODERNE; OR, THE MUSEUM OF MODERN ANTIQUITY”)
To be continued, updated regularly until 2025 — 2026…
A.G. © 2023. All Rights Reserved.
