Who am I?
I’ve been writing in one form or another for most of my life. Letters to friends, notes to myself, manifestos that I later abandoned, philosophical tangents that went further than I intended. For a long time, these existed in parallel to other practices - painting, making music, designing interfaces - as if writing were something separate, a sideline to the “real” work. It took years to recognize that the writing was never separate. It was the connective tissue. The place where everything else became legible.
This publication is where that recognition becomes operational.
What happens here?
I write about interfaces and optics. About coordination mechanisms and the assumptions they encode. About notation systems and visual scores for music, formal languages for visual art, and the strange territory where philosophy meets engineering. Some of it is technical: mechanism design, context engineering, the architectural decisions that shape what can be seen and therefore what can be thought. Some of it is lyrical: phenomenology of attention, the question of whether we can think rigorously while remaining enchanted. Some of it refuses to pick a register.
The practices I’ve pursued over two decades - visual art rooted in Gestalt formal systems, experimental music built on collaborative notation, philosophical research on how consciousness comes to know itself through optical technologies, and seven years designing coordination mechanisms for decentralized organizations - these inform each other continuously. I write from that intersection, not about it.
What are you building?
I’m also working on what I call an Existential Operating System: infrastructure for the examined life. Tools that help consciousness examine itself while also supporting knowledge workers. This involves AI agents, personal knowledge management systems, powerful web3 tools, and interfaces designed to make the invisible visible. The publication documents that construction as it unfolds. You’ll encounter works-in-progress, dead ends, sudden clarities. This is not a newsletter of finished thoughts.
Where are you writing from?
I live and work in an off-grid earthship outside of Taos, New Mexico, a building designed to make its own systems visible. Thermal mass stores sunlight; the structure performs its functioning. I’m trying to build a writing practice with the same quality. The work showing you how it works by working.
On voice and density
The writing here moves between registers: earnest and absurd, technical and lyrical, addressed and incantatory. I use discipline-specific vocabulary without apology: autopoiesis is a favorite word and practice, deterritorialization is a favorite perforamnce, parallax is a nice viewport, proprioception is a baseline. These concepts provide invitations to readers who share the conceptual territory. I don’t simplify for an imagined naive audience, but I try to ground abstractions in sensory detail. If something feels dense, the density is usually the point.
On the gift/potlatch economy
What I offer here is offered freely for now. I believe that attention shared generously creates more than attention hoarded, that the gift economy of ideas functions differently from market logic. Some writing will eventually live behind a paywall, maybe - I have to sustain the practice somehow I think - but the core inquiry circulates without restriction. If something sharpens your thinking or expands what you thought was possible, that’s the return I’m hoping for.
Welcome. Reply anytime and feel free to reach out. I’m protective of my attention, but eager to meet new would-be collaborators. The conversation is the point.
