Birds of Encouragement

Filling high the brim of heat Thatches wait aquarry In distance seen a day to be well Thoughts of her by Marry The Swift seventeen And handhouse by Fall A tort for vary this year Small planet blue And I will suffer for you The layers of dawn and at wish A sunny you and simplified sword To forgive a pierced sky and forget After clear the dust coming And never a hope to be back For Will and worry and these shows of the occluse A sympathy with Mystress by chord Imperpetua upon Wren and the show of a burden We speak with a clue and mean well The sorrowest be fighting first flight In cannon to years of unget But in high Cedar Wax, And a day to be then The height of a Grey Jay- In accord In this trace acre a therapy would By acrobats and litter and wheel To the friar unwilled and the substance, bought a ship By sympathy huge and unweary By essence though a road And King’s hand to see muster The best upon fording these walls To walk with a Dove and to fool the unfriend We will be faithful and always, As a Suncatcher knows- True and far.

Fail To View

Artemis II (pt. IV)

In sympathy as this Days of War at breaking soon Victory over culture To see men aglow And over starcross The beams of danger- and how they stick to fury Making no-one upset But bitter pine And London in esteem Years of sail and ready-ground For distance wander then a go In calamity at year for one ahead The shoreline second as it guards To notice mines and clouds and stars and imperfections Mercury due to mythic and times to ocean cubed But bitter Atlantic It carries wind unto the frail For top of heights and knowing fold To us our day and lighting time And therapy view- At there and then were your best The major few- Who astronaut your keep Paying rain in speeds forever This classic time will mow us down In simple Water this dime of mire To go alone onto stages Summer with The few who vouch have letter-half To make Vermeer in standing time No subterfuge but strictest day Work to Water- and sing for June An eddy’s distance shares its view What major place And opened trumpet The yeas for war that singing were And for sharing This abject flaw and suffer-giant Atop of mercy I am incorrect And judge-not you It’s the sympathy of Rome- And tightly bound Heroes to gate- And watered hand In grace to be The flax is known And gear betrothe And handling in Revere the Dawn This priceless May of insurrection hold In your keep declaring grace In Pretoria do and keep The justice waits- and yours is time.

Des annonces récentes indiquent que la COFEC souhaite aménager un accès public au fleuve sur le Domaine Médard-Bourgault. Selon les informations diffusées publiquement, ce projet pourrait inclure différents aménagements permanents destinés à faciliter l’accès de la population, comme un escalier, des bancs, des poubelles et un aménagement du terrain.

À première vue, l’idée d’offrir un accès au fleuve peut sembler positive. Mais dans le cas précis du Domaine Médard-Bourgault, cette proposition soulève une question beaucoup plus profonde : celle de l’intégrité d’un lieu artistique.

Un lieu qui n’est pas un parc

Le jardin situé au bord du fleuve fait partie d’un ensemble qui possède une valeur particulière. À quelques pas de là se trouve une petite boutique où Médard Bourgault se retirait pour sculpter, notamment lorsqu’il souhaitait travailler dans le calme, loin de l’agitation des visiteurs.

L’accès à cet endroit se fait aujourd’hui par un escalier de pierre discret. Cette descente fait partie de l’expérience du lieu : on quitte progressivement le domaine pour entrer dans un espace plus intime, plus silencieux, presque retiré du monde.

Transformer cet accès en aménagement public change inévitablement la nature de cet endroit. Ce qui était un lieu discret lié à la création artistique risque de devenir un simple passage vers le fleuve.

Autrement dit, le lieu pourrait rester physiquement présent, mais perdre une partie de son sens.

La question du changement d’usage

Cette situation soulève également une question juridique.

Le Domaine Médard-Bourgault a été vendu avec certaines obligations visant notamment à préserver le caractère du lieu. L’acte de vente prévoit entre autres que l’immeuble doit être conservé et entretenu, et que certaines modifications importantes ne peuvent être apportées sans consentement.

Dans ce contexte, la transformation du jardin en accès public permanent au fleuve pourrait soulever une question simple : est-ce que l’on change l’usage du site ?

Passer d’un jardin lié à un lieu de création artistique à un espace aménagé pour la circulation du public n’est pas une modification anodine. C’est un changement qui peut avoir des implications juridiques et patrimoniales.

Une situation contractuelle encore sensible

Un autre élément ajoute à la complexité de la situation. La transaction entourant le Domaine Médard-Bourgault n’est pas entièrement exempte de questions. Un avenant modifiant certaines modalités aurait été signé ultérieurement sans la présence d’un notaire.

Dans certaines circonstances, ce type de document peut être contesté ou soulever des difficultés juridiques. Si tel était le cas, toute transformation importante du site pourrait devenir problématique.

Ces aspects devront évidemment être examinés par des juristes.

Prendre le temps de réfléchir

Le Domaine Médard-Bourgault n’est pas un terrain comme les autres. Il s’agit d’un lieu directement lié à l’histoire d’un sculpteur majeur et à une tradition artistique qui dépasse largement les frontières locales.

Avant de transformer cet espace en accès public aménagé, il semble raisonnable de se poser une question simple : sommes-nous en train de mettre en valeur ce lieu… ou de transformer profondément ce qu’il représente ?

Préserver un lieu artistique ne signifie pas nécessairement le fermer au public. Mais cela implique parfois de reconnaître que certains endroits tirent leur valeur précisément de leur simplicité, de leur discrétion et de leur authenticité.

C’est peut-être le cas ici.

I’ve reached the end of my first red notebook, all 48 pages. Finally, a notebook I actually finished and it’s a great feeling. Does this mean I’ve written everything I needed for my blog?

Not a chance. I never run out of ideas. Got plenty up the wazoo. But ideas are a dime a dozen and there are two problems with it. The first one is trying to write them on paper. Plenty of people have that problem right before it disappears from their memories.

The second problem is implementing the ideas to see if they work. Another variant of the second problem is wanting to maintain the implementation even when it’s not working. People put in so much time, money, and effort into an idea it’s easy to stick with it rather than being wrong and trying something else.

When it comes to this website I don’t have a problem with generating ideas, writing them down, and implementing them. My primary goal with this blog is an online space I can talk about anything. It’s written on paper first, then gets typed up, edited, and published.

Finding readers and subscribers, or getting compensated for my work isn’t my first, second, or third priority. This blog was an idea that took a life of its own. And so far it’s been a success. So I will continue to have ideas, big or small, and write until I can’t do so anymore.

As I retire this first notebook, transfer to another red one, and prepare to retire my first and only red pencil, I look forward to more writing opportunities and blog posts. To everyone keeping up with me, thank you for your support.

#writing #blog #ideas #notebook

Au cœur du Domaine Médard-Bourgault se trouve un lieu particulier : le jardin et la petite boutique où Médard Bourgault se retirait pour sculpter. Cet endroit n’est pas simplement un espace extérieur ni un point d’accès vers le fleuve. C’est un lieu chargé d’histoire, de travail et de création.

Lorsque l’on parle aujourd’hui d’aménager un escalier grand public pour y accéder, la question n’est pas seulement celle d’un aménagement pratique. La véritable question est celle de l’esprit du lieu.

Un lieu de création intime

La petite boutique située près du fleuve n’était pas un atelier touristique. Médard Bourgault s’y retirait justement pour trouver la tranquillité nécessaire à son travail. À une époque où les visiteurs étaient nombreux et parfois envahissants, cet endroit lui permettait de s’isoler et de poursuivre sa création dans le calme.

C’est aussi dans ce lieu qu’il pouvait explorer certaines formes artistiques plus librement, parfois à l’écart du regard du public. La boutique et le jardin formaient donc un espace de liberté et de concentration, loin de l’agitation.

Cet aspect intime fait partie intégrante de l’histoire du lieu.

Un accès qui fait partie de l’expérience

Aujourd’hui, on ne peut pas atteindre ce lieu sans descendre par un escalier de pierre discret. Cette descente fait partie de l’expérience. Elle marque une transition entre l’extérieur et l’espace de création.

On ne découvre pas ce lieu par hasard. On y arrive lentement, en descendant vers un espace plus calme, plus retiré. Cette approche correspond exactement à la manière dont Médard lui-même utilisait cet endroit.

Transformer cet accès en escalier public change profondément cette relation.

Le risque de transformer un lieu intime en passage public

Un escalier conçu pour un usage public entraîne presque toujours plusieurs transformations :

• une circulation plus importante
• un aménagement plus visible
• une logique de parcours pour les visiteurs.

Même si les intentions sont bonnes, le lieu peut alors devenir une simple étape dans un circuit de visite. Le risque est de transformer un espace de création intime en point d’arrêt touristique.

Dans ce cas, le lieu demeure physiquement présent, mais son caractère disparaît.

Préserver l’intégrité d’un lieu artistique

Le Domaine Médard-Bourgault ne représente pas seulement un ensemble de bâtiments ou un terrain historique. Il porte la mémoire d’un artiste et la trace concrète de son travail.

Préserver un lieu comme celui-ci signifie parfois accepter qu’il reste discret, voire difficile d’accès. Ce n’est pas un défaut : c’est souvent ce qui protège son authenticité.

Certains lieux artistiques importants ont conservé leur force précisément parce qu’ils n’ont pas été transformés pour répondre à une logique touristique.

Une responsabilité envers l’histoire du lieu

La petite boutique près du fleuve et le jardin qui l’entoure constituent un témoignage rare : celui d’un espace de création resté presque intact.

Modifier profondément la manière d’y accéder risque d’en altérer l’esprit. La question mérite donc d’être réfléchie avec prudence.

Il ne s’agit pas de refuser toute mise en valeur du domaine, mais de reconnaître que certains lieux tirent leur valeur justement de leur simplicité, de leur discrétion et de leur authenticité.

Préserver cet équilibre est peut-être la meilleure manière d’honorer l’héritage de Médard Bourgault.

11 March 2026

Face shield bag (working title): was walking in Vauxhall and found the outer packaging for a set of CPR mannequin shields. Made of transparent plastic, on which was printed a wonderfully-poorly-rendered line drawing diagram showing how to use the product—hands affixing a shield to a mannequin's lifeless face, another (living?) face entering the diagram's second stage to put its lips to the first one. All folded in on itself and resting delicately over sparse weeds sprouting from wet soil squeezed up against a concrete curb. Something about it brought to mind Polke's watchtower series (particularly Watchtower (Hochsitz) from 1984), both in mood—relaxed at a kind of equilibrium but sinister—and visual complexity—the bent plastic packaging caught daylight at odd angles, blocking visibility of the weeds, soil, and diagram here and there. What resulted is a painting that to me feels ancient, like a hieroglyph partially lost to material decay. Which sits in an odd harmony with the satisfaction on the face floating at the top of the composition. The color is indebted to Eliot Porter's Winter Wren, Great Spruce Head Island, Maine (1960), which holds an aspirational kind of long-ago-now-ness that I'm permanently searching for.

We ripped out log stuffing from the blog agent's prompt path this week. The old design scraped terminal output, conversation transcripts, and system logs into one unstructured pile, then dumped all of it into the context window before asking the model to write a post. It worked until it didn't. The blog started hallucinating API calls we never made, citing framework names we never used, and inventing thresholds that didn't exist in any config file.

The failure mode was predictable. When you feed a language model 50,000 tokens of mixed signal and noise—some of it design decisions, some of it debug chatter, some of it secrets accidentally left in a transcript—it has no reliable way to know which parts matter. The model saw anthropic.messages.create() in a conversation about what we might do, then wrote a blog post claiming we already did it. It saw the string crewAI in a research note and treated it as evidence we were using that framework. The draft validation layer caught both of those fabrications, but the third attempt still struggled to stay grounded.

The Design-Signal Pipeline

We replaced the log pile with a structured memory path. The new component lives in blog/design_signals.py and does one thing: it scans local Codex and Claude conversation history, extracts entries that look like implementation decisions, strips anything that matches known secret patterns, and writes them into the shared agent_insights table as design_decision records. The blog agent refreshes those signals on every heartbeat, then queries them back into its prompt context alongside research findings and ledger data.

The filter logic is explicit. It looks for phrases like “implementation note,” “decided to,” “changed because,” “tradeoff,” and “constraint.” It discards lines containing API keys, auth tokens, file paths that look like credentials, or environment variable assignments. It deduplicates by content hash so we don't write the same decision fragment twenty times. The watermark state persists in blog/design_signal_state.json so we only process new transcript material on each pass.

The prompt path is now: git commit context, recent ledger activity, research_findings from the research agent, and structured design_decision insights. No raw terminal logs. No unfiltered conversation dumps. The model gets curated signal instead of hoping it can separate signal from noise on its own.

Why This Approach Instead of the Obvious Alternative

The obvious alternative was better prompt engineering. We could have added instructions like “only cite concrete implementation details” or “ignore speculative discussions.” We tried that. It didn't hold. The model is very good at pattern-matching text that sounds technical, and it's very bad at distinguishing between “we did this” and “we talked about doing this” when both are formatted the same way in a transcript.

The other obvious alternative was to give up on using internal decision context entirely and write posts from git diffs alone. That would have been safer but much less useful. The git diff tells you what changed. It doesn't tell you why we chose this approach over the alternatives, what broke first, or what constraint forced the decision. That reasoning lives in the Codex and Claude history, and throwing it away would have turned the blog into a changelog with no judgment.

So we chose the middle path: keep the decision context, but convert it into structured memory first. The design_signals.py ingester is the gatekeeper. It decides what counts as a design decision and what counts as noise before the blog model ever sees it. That separation of concerns means we can tune the filter logic in one place instead of fighting prompt drift across every blog generation.

What Broke and What We Fixed

The live test was the commit that added the design-signal pipeline itself. The first draft classified the work as “play-to-earn gaming” instead of “AI agent frameworks” because the topic classifier was picking up on research notes about agent marketplaces. We filtered generated files and runtime logs out of the commit scoring logic. The second and third drafts got rejected for citing anthropic.messages.create() and crewAI as if we were using them. We added a third fallback pass that tells the model to stay architectural and drop low-level code detail if it can't cite concrete evidence. The final draft succeeded with the title “Framework Lock-In and the Compliance Tax.”

The test suite now has 11 passing tests, including cases for code-evidence extraction, draft validation, and design-signal refresh. The config file defines a code-evidence token limit so we don't let symbol tables eat the whole context budget. The blog agent logs design_signal_refresh_failed if the ingester throws an exception, but it doesn't block post generation—it just means that cycle runs without fresh decision context.

What We're Likely to Do Next

Next, we will keep reducing variance across the agent stack and let runtime evidence show which parts of the framework still need tighter defaults.

It’s slightly too warm, the pillow isn’t quite right, I’m tired but yet also not

I’m having trouble sleeping, I’m having these vivid dreams like the one about the shrimp, or last night:

I dreamt there were two baguettes on the kitchen counter

That’s pretty much all I remember

To bring them forth from the dreaming world, I bought two baguettes and placed them as I had seen it in my dream …

And then later I ate a bit of one and a bowl of spring mushroom soup: A look of miserably monochrome grayish beige, textureless — like depression made into soup,

Like the gruel which the crew in the Matrix eats, you know?

Having done as foretold by my dream self, I’m eagerly anticipating what will happen next!

Ese que acaba de entrar, el de gabardina -no mires-, es el Conde Negro, Luciano di Plasencia. Desciende de una noble familia del antiguo ducado de Toscana. -¿Y lo de Conde Negro? -Ahí voy. Son riquísimos. Él, particularmente, pero su única hermana, la Negra, todavía más. -¿Por qué la Negra? -Pasé un verano en Lisboa con mis dos perritas, Lala y Pumi. Una tarde, mientras tomábamos algo en el hotel, Lolita, la modelo, lloró a lágrima viva porque se enteró de que el muy cerdo tuvo un hijo en España, porque realmente ellos vienen de allí. Y claro, si le ves los ojos, completamente azules como el cielo de Madrid, te agarra de frente y te atropella. -¿Y lo de Conde Negro? -Te dejo, Marion, que me están esperando, ya ves. Besitos. Ciao.

Porque saben que soy una persona sensitiva, alguien me ha dejado este sombrero. No sé quién. No recuerdo a ningún conocido que use algo así. Robin de los bosques llevaba uno como éste. No es exactamente un sombrero bycocket, de esos que se usaron en el siglo XIII, pero es casi exacto; quizás la diferencia le da autenticidad. Es marrón y no lleva plumas.

Cuando toco este sombrero veo muchas cosas. Que hay gente que se lo pone en casa, cuando nadie los ve. Se miran en el espejo y recuerdan aspectos tristes y alegres, sus vidas cuando fueron arqueros. En el espejo ven desfilar a sus camaradas, caídos hace siglos, vuelven gracias a la conexión con este sombrero. Los enemigos flechados, los animales cazados.

Y busco; el ojo busca el pecho, la flecha vuela, como si fueran uno, y lo soy. Entonces, absorbido por el silbido y el golpe, regreso para preguntar de quién; quién trajo aquí este sombrero.

I woke up because I remembered that I forgot to write today. I got caught off guard by a video of her earlier today, and I deleted it from my files. I ended up going to my car for lunch and crying for the first half of it. I did feel better afterwards, I also did talk to a friend. I think at the end of the day it’s both a mixture of me stopping my abuse of something that was unhealthy but felt really good, and also stepping away from something that was good because there is much better waiting. Additionally this was a firework, in the sense that it was not something that would’ve been sustainable. And so like every firework, it needs to end. I really tried to intellectualize it in a lot of different ways, but at the end of the day it is just grief. We spent a lot of time together, and I would like to think that we made a lot of really nice memories. But at the same time we both were somewhat necessary stepping stones to each each other I think. I think it’s up to us as individuals to decide how many more stepping stones we need, and the way we control that is by learning as much as we can from the experience, and also minimizing the wrong conclusions that we draw. Like for example, part of me felt like oh I should not try to date another gamer. But that’s not true at all, it’s just not something I should necessarily optimize for. I also think that certain things that I felt like we were red flags in her should be things that I should avoid like the plague, like how she played Valorant. But speculation aside, she didn’t do anything bad because of that. I did make a new friend today, and I might be able to get into cosplay! It’s something I think fairly foreign and somewhat unexpected, but it is something that I’ve been wanting to try. I really want to make some costumes, and also I would love if I can engineer some stuff for them. I also got to play games with two really close friends which I always enjoy. It’s weird that I’ve gotten kind of used to this, as opposed to life with E. And I feel so much more stable and rooted, and not like my well-being and life depends so much on someone else that is volatile. I’ve also found myself in a lot of different ways, like I get to be really excited and sing along with things after the gym because I get to push myself hard enough. I get to do stupid things and just do that kind of laugh that I do by myself because of the realization of how fucking weird I am at times. I get to explore different creative projects, and ideas there without I guess filtering my thoughts through someone else. And it’s not like those things are necessarily horrible things either. But it is nice to have this solo time. And that’s not exactly something that I can fault her for, but just rather that I realize we both made this mistake with. And I would like to not make that mistake again in the future, and that way I can have something much more healthy and I wanna see what that love is like.

WWR+, the sister group of Beyond Wrestling, is coming back after a long hiatus as part of a double header with Beyond Wrestling on Sunday, March 22, 2026. Both events will be carried live on IWTV at 3pm ET and 7pm ET. This is the first WWR+ show since June 26, 2022.

The show is being called “Tournament For Tomorrow” featuring a tournament with Shannon LeVangie, Kylie Alexa, Lili Ruiz, Liviyah, Leigh Laurel, Harleen Lopez, Corinne Joy, and Amity LeVey. Lopez vs. Ruiz is the only match that has been announced so far.

I’ve been having vivid dreams lately. They feel significant and foretelling, but I can’t remember the details. I’ve always been fascinated by dreams and have used them to understand my subconscious and those in my energetic field. Although the details of my recent dreams are blurry, they seem to reveal emotions I’ve suppressed. The theme keeps recurring in my dreams. I’m working on putting my needs first, before others. My long-standing habit needs to end, but it’s harder than I anticipated. I remember this moment clearly: a family member asked me for a favor. I told him I couldn’t do it at that moment, but I would do it later that day when I had more time. He got furious and called me incompetent. I was stunned by how abruptly it escalated. Since then, I’ve been walking on eggshells around him. It’s heartbreaking but also a relief to finally realize I was living with a narcissist. What’s scary is the same trait that pushed me to the edge also exists within me. I became aware of this through some very intense connections over the past few years. The lesson will keep coming back in different bodies and forms until we surrender and face it with love and courage. I’m glad I noticed the pattern. I am a keen observer. I’m hopeful I can overcome this habit.

Hoje os estudos foram focados em compreensão auditiva, pronúncia e leitura em cantonês e grego moderno. Em espanhol e galês, a prática se concentrou apenas na escuta.

Para o cantonês, utilizei o livro da série Complete Cantonese (Teach Yourself) e o FSI Cantonese Course. No grego moderno, tenho utilizado o Easy Greek para a criação de materiais voltados à prática oral no idioma.

#Notas #Cantonês #GregoModerno #Espanhol #Galês