Writing / Research / Play
this is what I do for fun.
I pick up a question because it bothers or delights me, then follow it past the edge of the subject. A Henry James sentence becomes an acting problem. The acting problem becomes a shooting-script problem. That becomes a software problem. Somewhere in the middle I stop and wonder what a cat is actually doing when it purrs.
Some trails become screenplays, tools, books, datasets, or public experiments. Some stay as notes until the right evidence arrives. I do not need every curiosity to become a product. I do need to say which parts are working, proposed, shelved, or simply me playing with an idea.
01 / Selected public writing
Henry James keeps opening other doors.
A Henry James sentence refused to stay literary. In performance, syntax becomes breath, timing, body, and another actor listening. I began adapting The Bostonians for stage and screen, then formatted the same opening scenes in six different production forms to see what each page asked everyone to imagine.
The novel kept overflowing ordinary screenwriting software, so I built Chronos. It is a working Mac application in active private use, built to keep the book, the decisions, and the developing screenplay connected. It does not use ML agents or write the adaptation. The screenplay is the creative work. The software is one answer the work demanded.
02 / The live room
What happens after the audience goes home?
Small live theater joins things media usually separates: rehearsal, live attention, bodies in a room, camera, edit, and a local audience. I am exploring how original and public-domain work might be developed by community artists, filmed without flattening the performance, and shared afterward on terms that still serve the people who made it.
This is active artistic and production research, not a platform or an announced program. The immediate question is practical: what belongs to the room, what belongs to the camera, and what the edit can carry between them.
Talk with me about filmed theater03 / Questions currently loose
Not everything needs to become a company.
Book project / Active and private
Can the argument survive Tuesday?
On Reality, Knowledge, and How to Live is an active five-book manuscript moving through logic, epistemology, metaphysics, ethics, and craft and meaning. A coherent explanation is cheap. I am interested in one that names its assumptions, survives evidence, says what would prove it wrong, and changes what someone does on Tuesday.
Critique / Emerging method
How should a room disagree?
Critique methods can make honesty ceremonial or let power do whatever it wants. I am sketching a writers-room practice for direct, useful criticism: no ritualized gentleness, no bullying dressed as rigor, and no notes without responsibility for their effect on the work.
Bioacoustics / Question set
What is a purr doing?
Comfort, solicitation, self-regulation, communication? How do domestic cats and other felines differ? Could sound synthesis become a legitimate research instrument without turning a living signal into another wellness product? I have questions, not findings. That is why it stays on the desk.
Information Gravity / Active and shelved
What changes when the facts connect?
A pile of facts is not the same as a structure. Connect the right two and every fact may acquire a different use. Information Gravity is my working name for that operational question. The modest version is active for testing. The stronger, law-like version is shelved unless it earns its return with a cross-domain prediction. I am not proposing a new physical force.
Time / Workbench draft
How many clocks does one story need?
A source, a character, a screenplay, a rehearsal, a production day, an edit, and a revision do not move through time in the same way. I am asking how those clocks meet, who decides what counts as the same event, and what remains when two valid accounts cannot be reconciled. This is a workbench question, not a physics claim.
Historical record / Working instrument
What survives a two-thousand-year handoff?
I am building a historical dataset to compare what happens to access, fidelity, control, and survivability as knowledge passes through different people, media, and institutions. It does not prove the model. It makes the model answerable to examples instead of letting the language float free of them.
04 / Publishing close to the work
The record is part of the making.
I want essays, project notes, revisions, and source material to live on ground I control, with the status of a claim visible and the older version not quietly erased. This site is part of that practice. An assistant-generated sentence does not become my biography because it sounds finished.
MELLOWS is an analytical and philosophical substrate for reasoning about governing questions, constraints, phases, authority, coherence, and repair.
It is not a product, operating system, repository, institution, or shorthand for everything I make. The work around it includes distinct books, methods, experiments, protocols, datasets, and software, each with its own authority and state. Some mechanisms remain private. Some terms remain unsettled. Its public papers are not ready, and I would rather leave the shelf honest than use private vocabulary to sound finished.
05 / Ways in
If one of these questions crosses yours, write.
The two project accounts above are the open doors. If you want a working paper, tell me which question and what you plan to do with it. If you want me in a room, tell me who will be there and what the room is trying to understand. If you have a question that has already survived the obvious answers, send that.
Private drafts and working material are considered in context and are not automatically available.