From adeaef15f5f1a914f90821dedfef40d4fd276af5 Mon Sep 17 00:00:00 2001 From: "prompt.ac/@jeffrey" Date: Mon, 7 Sep 2026 15:27:29 -0400 Subject: [PATCH] =?UTF-8?q?grants:=20princeton=20arts=202026=20=E2=80=94?= =?UTF-8?q?=20draft=20and=20research=20arrive?= MIME-Version: 1.0 Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: 8bit Claude-Session: https://claude.ai/code/session_018RKzjn5crREMTkDaZwrq8b --- grants/princeton-arts-2026/DRAFT.md | 155 +++++++++++++++++++++++++ grants/princeton-arts-2026/RESEARCH.md | 86 ++++++++++++++ 2 files changed, 241 insertions(+) create mode 100644 grants/princeton-arts-2026/DRAFT.md create mode 100644 grants/princeton-arts-2026/RESEARCH.md diff --git a/grants/princeton-arts-2026/DRAFT.md b/grants/princeton-arts-2026/DRAFT.md new file mode 100644 index 0000000000..e279d178ee --- /dev/null +++ b/grants/princeton-arts-2026/DRAFT.md @@ -0,0 +1,155 @@ +# Princeton Arts Fellowship 2027–29 — Application Draft + +> **Spine: Jeffrey applies as a MUSIC artist — a composer and instrument +> builder whose instruments are software he wrote himself, performed live and +> released as records — bringing the laptop-orchestra lineage back to the +> campus that invented it, at 1/100th the cost of a seat.** PLOrk (Princeton, +> 2005) proved a room of networked laptops is a real ensemble; Jeffrey's +> instruments run in any browser tab and boot from surplus $50 laptops, and +> his arXiv plork paper already engages that history directly. Supporting +> structure only: KidLisp (the musical live-coding language), whistlegraph +> notation, AC Native OS as the $50 orchestra seat. CUT from this proposal: +> No Paint, the papermill, the social network, visual-arts framing (this +> round is dance/music/theater ONLY). +> +> **Deadline: 2026-09-08, 11:59 p.m. ET.** +> Portal: via https://arts.princeton.edu/fellowships/princeton-arts-fellowship/ +> Materials (per mirrors of recent cycles — **verify on live portal before +> pasting**): CV · 750-word proposal in three 250-word sections · three +> references (contact info) · work samples with 150-word notes. +> **⟨confirm⟩** = @jeffrey's decision before submitting. + +--- + +## Proposal, section 1 of 3 — How the fellowship advances your work *(250 words max)* + +I am a composer who builds his own instruments. For six years I have written +them as software — notepat, a polyphonic touch instrument that runs in any +browser; a chromatic sampler; drum machines that ship in a menu bar; and +KidLisp, a small live-coding language where the score and the synthesizer are +the same text. I compose bottom-up on these instruments the way one writes +for acoustic ones, perform them live, and release the results as records +under my own imprints. The instrument, the performance, and the recording are +one material, and I make all of it in public. + +Princeton is where the ensemble I care about was invented. The Princeton +Laptop Orchestra proved in 2005 that a room of networked laptops is a real +instrument, and I have published on its lineage; my contribution is dropping +the cost of a seat by two orders of magnitude, onto surplus laptops and +browser tabs, so the form can leave the wealthy campus and still come home to +argue with its origin. + +The fellowship would buy the thing my practice has never had: two years to be +a composer-in-residence for my own instrument family. I would compose and +perform a body of concert works for these instruments, engrave them as +readable scores others can re-perform, and do it inside the one music +community where the laptop orchestra is a living practice rather than a +citation — with the people who built it across the hall. + +`[~245 words — recount before pasting]` + +--- + +## Proposal, section 2 of 3 — Working with undergraduates *(250 words max)* + +I would teach the course my practice is: **build an instrument, then perform +on it.** In the first semester each student writes a small software +instrument — in KidLisp, in JavaScript, or in whatever stack they already +love — and the class becomes an ensemble that has to learn one another's +instruments, compose for them, and end the term with a concert. The +instrument is the composition exam: if no one else can play it, it is not +finished. In the second semester the ensemble goes further — writing graphic +scores for the instruments, performing on surplus hardware, and publishing +both the instruments and their scores so the next class inherits a repertoire +rather than a syllabus. + +I have taught this material for years — digital media and programming-as-art +at UCLA, Parsons, and Southern Oregon University — and I currently run a +free neighborhood computer club where the same lesson lands with nine-year- +olds and retirees alike: an instrument you built yourself changes your +relationship to every instrument. Undergraduates sit at the sweet spot. They +can really program, or really play, and are rarely asked to do both at once. + +Outside the classroom I would keep an open studio — an instrument clinic +where students bring half-built synths, broken scores, and pieces that do not +work yet — and I would seek out the existing laptop-orchestra community as a +collaborator, offering my instruments and repertoire to their stands and +learning their performance practice in return. + +`[~240 words — recount before pasting]` + +--- + +## Proposal, section 3 of 3 — Diversity & inclusion contribution *(250 words max)* + +My contribution to inclusion is economic and material: I remove the price of +admission to computer music. The standard path in runs through a laptop that +costs a thousand dollars, a DAW license, and a studio course to explain them. +My instruments run in any browser tab on any machine, free, with no account; +and my operating system boots a fifty-dollar surplus laptop — the kind school +districts and offices throw away — into a complete musical instrument in +seven seconds. A laptop-orchestra seat that cost fifteen hundred dollars in +2005 now costs less than a textbook. Everything is open source; nothing is +rented. + +I practice this, weekly, at the NELA Computer Club I run in a working-class +neighborhood of Los Angeles: surplus machines, all ages, no prerequisites, +music and code taught as one subject. KidLisp exists because of it — a +language small enough that a child's first program can be a song, so the +gate of prior programming literacy stops filtering who gets to compose this +way. + +At Princeton I would bring the same practice to the surrounding communities — +Trenton is twenty minutes away — by seeding club chapters with donated +surplus hardware, and on campus I would design my course so it has no +prerequisites in either music or computer science: a student who has never +programmed and a student who has never played are equally qualified, because +building your own instrument is the one assignment where those two arrivals +are the same. + +`[~240 words — recount before pasting]` + +--- + +## Work samples *(music — specs unknown for this cycle; expect audio/video links + ~150-word notes)* + +Candidate pool — pick 3–5, **⟨confirm⟩** ordering and specs against portal: + +1. **notepat performed live** — video of a real performance (or a clean + studio take) of a composed piece, not a demo. *(150-word note: the + instrument, that it's self-built, browser-native, polyphonic.)* +2. **A released record** — lonerclub v4pid (feat. Aesthetic Dot Computer, + released 2026-08-27) or a pixsies album cut — streaming link. *(Note: + composed bottom-up on self-built instruments, no generative end-to-end.)* +3. **KidLisp live-coding performance** — screen+audio capture where the + audience sees the score being typed as it sounds. *(Note: language as + instrument; score = synth = text.)* +4. **Whistlegraph** — one gesture-as-score video from the TikTok corpus with + its notation. *(Note: drawn notation performed in real time; gesture is + the envelope.)* +5. **The $50 orchestra seat** — short video: surplus ThinkPad cold-boots into + the instrument in ~7 seconds, gets played. *(Note: PLOrk lineage, cost + collapse, ensemble ambition.)* + +## CV + +Assemble music-forward CV: releases (Aesthetic Dot Computer / Whistlegraph +Dot Org discography), performances (Goodiepal & Pals European tour, live +sets), instruments shipped (notepat, menuband/TrackDrum on the App Store), +publications (arXiv plork paper; ICLC 2027 notespatial in progress), teaching +(UCLA, Parsons, SOU), education (Ringling, Yale MFA). Lead with composing/ +performing/instruments; painting credentials go late or nowhere — this is a +music application. + +## References *(three; contact info only at submission — per mirrors)* + +**⟨confirm⟩ — open question for @jeffrey.** Strongest shapes: one who can +speak to the music/instrument practice, one to teaching, one to the +community/club work. Discuss candidates before listing anyone. + +## Facts settled 2026-09-02 + +- Never applied to this fellowship before (lifetime cap of two: this spends + the first). +- Willing to relocate to Princeton full-time for both academic years. +- No sustained Princeton relationship; not a Hodder fellow; no Princeton PhD. diff --git a/grants/princeton-arts-2026/RESEARCH.md b/grants/princeton-arts-2026/RESEARCH.md new file mode 100644 index 0000000000..591cabe7c2 --- /dev/null +++ b/grants/princeton-arts-2026/RESEARCH.md @@ -0,0 +1,86 @@ +# Princeton Arts Fellowship — 2027–29 cycle + +**Deadline: September 8, 2026, 11:59 p.m. ET** +Official page: https://arts.princeton.edu/fellowships/princeton-arts-fellowship/ +(Cloudflare-walled to automated fetch as of 2026-09-02 — all details below are +from mirrors and MUST be verified against the official page/portal in a real +browser before drafting form answers.) + +## The offer + +- Two consecutive 10-month academic years, 2027–28 and 2028–29 (Sept 1 – Jul 1). +- $93,000 salary/year, appointed as **Associate Professional Specialist**, with + University benefits; mirrors mention ~$5k/yr research fund + ~$2k classroom fund. +- Teach one undergraduate course per semester, OR an artistic assignment + (directing, ensemble, etc.) in lieu of a class at the program's discretion. +- Full-time residential commitment at Princeton; expected to be "full and + active members of the community." + +## THIS ROUND'S DISCIPLINE RESTRICTION (the eligibility crux) + +The 2027–29 round is open to **dance, music, and theater artists only** — it is +explicitly *not* accepting creative writers or visual artists this cycle. +(Confirmed by two independent mirrors: ProFellow call-for-applications page and +contemporaryperformance.com, both dated Aug 2026.) + +→ AC's viable lane is **music**: instrument-builder / composer / live-coding +performer. Not the visual-arts or writing framing. + +## Eligibility rules (from mirrors — verify) + +- "Early-career" artists of extraordinary promise; no fixed years-of-experience + definition; practice should already be established with a clear voice. +- Open to all nationalities; U.S. citizenship not required. +- Lifetime cap: may apply **at most twice ever**. +- Ineligible: Princeton Ph.D. holders; past Hodder Fellows; anyone with a + "sustained, continuous relationship with Princeton" (occasional connections + OK); people pursuing a degree during the fellowship; people holding a + concurrent teaching position elsewhere during the fellowship period. + +## Application materials (from mirrors of recent cycles — verify current specs) + +- Curriculum vitae. +- **750-word proposal in three 250-word sections**: (1) how the fellowship + advances your work, (2) how you'd work with undergraduates, (3) contribution + to diversity/inclusion of the arts community. (Section prompts may have + shifted this cycle — confirm on portal.) +- Contact info for **three references** (letters requested later, if at all). +- Work samples with ~150-word explanatory notes each. Music-discipline specs + for this round unknown (older cycles listed writing/visual/theatre specs); + expect audio/video links — confirm on portal. +- Contact: lca-fellowships@princeton.edu + +## Fit / spine (single-spine rule) + +Proposed spine: **the instrument, not the platform** — Jeffrey as a +music artist who builds and performs playable instruments: + +- notepat / chromatic sampler / GM instruments — playable in any browser. +- menuband family (TrackDrum etc.) — shipped App Store instruments. +- Live coding practice: KidLisp as a musical language; ICLC 2027 notespatial + paper in progress (papers/iclc-2027-notespatial/). +- Released records made bottom-up on his own instruments (Aesthetic Dot + Computer, Whistlegraph Dot Org on streaming). +- Whistlegraphs: gesture-as-score, drawing that is notation. + +Undergrad teaching angle writes itself: a "build your own instrument, then +perform on it" studio course — laptop orchestra adjacent (PLOrk exists at +Princeton! Dan Trueman's Princeton Laptop Orchestra — name-check carefully; +AC's plork paper in papers/arxiv-plork/ is directly relevant and the venue +connection is real). + +## Open questions for @jeffrey + +1. ~~Applied before?~~ **Answered 2026-09-02: never — this spends application + 1 of the lifetime 2.** +2. Any sustained Princeton relationship that could disqualify? (Assume no.) +3. ~~Willing to relocate?~~ **Answered 2026-09-02: yes, would relocate.** +4. Three references — who? (Need contact info by submission.) **STILL OPEN.** + +## Verify-before-submit checklist + +- [ ] Open official page in a real browser; capture the actual 2027–29 call + text, portal link, and music work-sample specs into this folder. +- [ ] Confirm proposal section prompts + word limits on the live portal. +- [ ] Confirm reference requirements (contacts vs letters). +- [ ] Confirm "dance, music, theater only" from the official page itself. -- 2.51.2