diff --git a/gigs/ucla-sosoft-2026/AC-UCLA-2026-0518-001.md b/gigs/ucla-sosoft-2026/AC-UCLA-2026-0518-001.md new file mode 100644 --- /dev/null +++ b/gigs/ucla-sosoft-2026/AC-UCLA-2026-0518-001.md @@ -0,0 +1,46 @@ +# Invoice + +**Invoice Number:** AC-UCLA-2026-0518-001 +**Invoice Date:** May 18, 2026 +**Due Date:** June 17, 2026 (Net 30) +**UCLA PO #:** 04250000559418 +**Ref. Quote:** AE-2026-001 + +## From + +**Aesthetic Inc.** +Attn: Jeffrey Alan Scudder +18 N Main St, Assonet, MA 02702-1118 +https://aesthetic.computer + +## Bill To + +**University of California, Los Angeles** +Attn: Accounts Payable +10920 Wilshire Blvd, Los Angeles, CA 90024 +Program: UCLA Design Media Arts — Social Software (Attn: Lauren McCarthy) + +## Line Items + +| Description | Amount | +|---|---:| +| Technical documentation services — 2026 cycle (flat fee) | $1,200.00 | + +**Total Due (USD): $1,200.00** — Not taxable; services only. + +## Submission (per UCLA instructions, confirmed by Rosy Wellborn 2026-05-18) + +- Email the PDF to **noreply@invoices.ucla.edu** +- Must reference PO **04250000559418** +- One invoice per PDF, ≤ 8.5×11 (this PDF is 1 page, letter) +- Email must **only consist of the invoice attachment** (no extra body/attachments) +- Do NOT also send to the buyer or vip@ (duplicate submission delays payment) +- Invoice-status questions later → ap@finance.ucla.edu + +## Build + +``` +cd bills/invoices && tectonic -X compile AC-UCLA-2026-0518-001.tex +``` + +Relative asset paths (resolve from bills/invoices/): fonts `../../system/public/type/webfonts/`, logo `../../papers/arxiv-ac/figures/pals.pdf`. diff --git a/gigs/ucla-sosoft-2026/AC-UCLA-2026-0518-001.pdf b/gigs/ucla-sosoft-2026/AC-UCLA-2026-0518-001.pdf new file mode 100644 --- /dev/null +++ b/gigs/ucla-sosoft-2026/AC-UCLA-2026-0518-001.pdf diff --git a/gigs/ucla-sosoft-2026/AC-UCLA-2026-0518-001.tex b/gigs/ucla-sosoft-2026/AC-UCLA-2026-0518-001.tex new file mode 100644 --- /dev/null +++ b/gigs/ucla-sosoft-2026/AC-UCLA-2026-0518-001.tex @@ -0,0 +1,186 @@ +% !TEX program = xelatex +% Aesthetic Inc. — Invoice for UCLA Social Software (technical documentation) +% Issued against UCLA PO #04250000559418 / Quote AE-2026-001. +% Build: tectonic -X compile AC-UCLA-2026-0518-001.tex + +\documentclass[11pt,letterpaper]{article} + +% === GEOMETRY === +\usepackage[top=0.5in, bottom=0.7in, left=0.9in, right=0.9in]{geometry} + +% === FONTS === +\usepackage{fontspec} + +\setmainfont[ + Extension = .otf, + UprightFont = lmroman10-regular, + BoldFont = lmroman10-bold, + ItalicFont = lmroman10-italic, + BoldItalicFont = lmroman10-bolditalic, +]{lmroman10} +\setsansfont[ + Extension = .otf, + UprightFont = lmsans10-regular, + BoldFont = lmsans10-bold, + ItalicFont = lmsans10-oblique, +]{lmsans10} + +% AC custom fonts — YWFT Processing +\newfontfamily\acbold{ywft-processing-bold}[ + Path=../../system/public/type/webfonts/, + Extension=.ttf +] +\newfontfamily\aclight{ywft-processing-light}[ + Path=../../system/public/type/webfonts/, + Extension=.ttf +] +\newfontfamily\acregular{ywft-processing-regular}[ + Path=../../system/public/type/webfonts/, + Extension=.ttf +] + +% === PACKAGES === +\usepackage{xcolor} +\usepackage{graphicx} +\graphicspath{{../../papers/arxiv-ac/figures/}} + +% === INVOICE METADATA === +\newcommand{\invoiceid}{AC-UCLA-2026-0518-001} +\newcommand{\ponumber}{04250000559418} +\newcommand{\quoteref}{AE-2026-001} +\usepackage{hyperref} +\usepackage{microtype} +\usepackage{parskip} +\usepackage{fancyhdr} +\usepackage{tikz} +\usepackage{eso-pic} + +% === COLORS (AC palette) === +\definecolor{acpink}{RGB}{180,72,135} +\definecolor{acpurple}{RGB}{120,80,180} +\definecolor{acdark}{RGB}{64,56,74} +\definecolor{acgray}{RGB}{119,119,119} + +% === HYPERREF === +\hypersetup{ + colorlinks=true, + linkcolor=acpurple, + urlcolor=acpurple, + pdfauthor={Aesthetic Inc.}, + pdftitle={Aesthetic Inc. --- Invoice \invoiceid}, + pdfsubject={Invoice \invoiceid --- UCLA PO \ponumber}, +} + +% === HEADER / FOOTER === +\pagestyle{empty} + +\setlength{\parindent}{0pt} +\setlength{\parskip}{0.24em} + +\begin{document} + +% ============ LETTERHEAD ============ +\noindent +\begin{minipage}[c]{0.22\linewidth} + \includegraphics[width=\linewidth]{pals} +\end{minipage}% +\hfill +\begin{minipage}[c]{0.76\linewidth} + \begin{flushright} + {\acbold\fontsize{30pt}{34pt}\selectfont\color{acdark} Aesthetic Inc}{\color{acpink}\fontsize{30pt}{34pt}\selectfont .}\par + \vspace{0.15em} + {\aclight\fontsize{10pt}{12pt}\selectfont\color{acpink} Software, design, and technical documentation}\par + \vspace{0.3em} + {\footnotesize\color{acgray} + Los Angeles, California \; \textperiodcentered \; + \href{mailto:mail@aesthetic.computer}{mail@aesthetic.computer} \; \textperiodcentered \; + \href{https://aesthetic.computer}{aesthetic.computer} + } + \end{flushright} +\end{minipage} + +\vspace{0.3em} +{\color{acgray}\rule{\linewidth}{0.6pt}} +\vspace{0.6em} + +% ============ INVOICE TITLE + META ============ +\noindent +\begin{minipage}[t]{0.50\linewidth} + {\acbold\fontsize{22pt}{24pt}\selectfont\color{acdark} Invoice} +\end{minipage}% +\hfill +\begin{minipage}[t]{0.48\linewidth} + \begin{flushright} + {\acregular\color{acpink} Invoice \#\invoiceid}\\[0.15em] + {\color{acdark}\textbf{Invoice Date:} May 18, 2026}\\[0.1em] + {\color{acdark}\textbf{Due Date:} June 17, 2026 \;(\,Net 30\,)}\\[0.1em] + {\color{acdark}\textbf{PO \#:} \ponumber}\\[0.1em] + {\color{acgray}\small Ref. Quote \#\quoteref} + \end{flushright} +\end{minipage} + +\vspace{0.6em} + +% ============ FROM / BILL TO ============ +\noindent +\begin{minipage}[t]{0.48\linewidth} + {\acbold\color{acdark} From}\\[0.2em] + Aesthetic Inc.\\ + Attn: Jeffrey Alan Scudder\\ + 18 N Main St\\ + Assonet, MA 02702-1118\\ + \href{https://aesthetic.computer}{aesthetic.computer} +\end{minipage}% +\hfill +\begin{minipage}[t]{0.48\linewidth} + {\acbold\color{acdark} Bill To}\\[0.2em] + University of California, Los Angeles\\ + Attn: Accounts Payable\\ + 10920 Wilshire Blvd\\ + Los Angeles, CA 90024\\ + {\small\color{acgray} Program: UCLA Design Media Arts --- Social Software (Attn: Lauren McCarthy)} +\end{minipage} + +\vspace{0.85em} + +% ============ SCOPE ============ +{\acbold\color{acdark} Description of services.} Aesthetic Inc.\ has authored and is delivering technical documentation for the UCLA Social Software program over the 2026 academic cycle, including written specifications, reference material, and architectural descriptions of the runtime, language, and instructional tools used by students and faculty, together with an analysis of the software in production use across UCLA Design Media Arts and a survey of the open-source and proprietary stacks on which that practice depends. Deliverables are furnished in written form and published on the Social Software program website at \href{https://sosoft.arts.ucla.edu/}{sosoft.arts.ucla.edu} for ongoing reference by students, faculty, and the public. No software license, hardware, or resalable good is included; the engagement is services-only. + +\vspace{0.4em} + +\begin{center} +\renewcommand{\arraystretch}{1.25} +\begin{tabular}{l r} + \hline + {\acbold Description} & {\acbold Amount (USD)} \\ + \hline + Technical documentation services --- 2026 cycle (flat fee) & \$1,200.00 \\ + \hline + {\acbold Total Due} & {\acbold \$1,200.00} \\ + \hline +\end{tabular} +\end{center} + +\vspace{0.45em} + +{\acbold\color{acdark} Terms.} Flat fee, inclusive of all deliverables described above. Net 30 per UCLA Purchase Order \#\ponumber. This invoice references Quote \#\quoteref. Not taxable; services only. + +\vspace{0.55em} + +{\acbold\color{acdark} Remittance.} + +{\small +Choice Financial Group\\ +Beneficiary: Aesthetic, Inc.\\ +4501 23rd Avenue S, Fargo, ND 58104\\ +Routing (ACH): 091311229 \quad Account: 202456137442\\ +PayPal: me@jas.life\\ +\textcolor{acgray}{If issued via UCLA Payment Plus, the virtual card remittance email will be processed on receipt.}\\ +Please reference Invoice \#\invoiceid\ and PO \#\ponumber\ on payment. +} + +\vspace{0.5em} +{\color{acgray}\rule{\linewidth}{0.4pt}}\\[0.25em] +{\acbold\fontsize{12pt}{13pt}\selectfont\color{acdark} Aesthetic Inc}{\color{acpink}\fontsize{12pt}{13pt}\selectfont .}\;{\small\color{acgray} Thank you --- issued \today\ against UCLA PO \#\ponumber.} + +\end{document} diff --git a/gigs/ucla-sosoft-2026/PO_04250000559418.pdf b/gigs/ucla-sosoft-2026/PO_04250000559418.pdf new file mode 100644 --- /dev/null +++ b/gigs/ucla-sosoft-2026/PO_04250000559418.pdf diff --git a/gigs/ucla-sosoft-2026/README.md b/gigs/ucla-sosoft-2026/README.md new file mode 100644 --- /dev/null +++ b/gigs/ucla-sosoft-2026/README.md @@ -0,0 +1,54 @@ +# UCLA Social Software — Technical Documentation (2026 cycle) + +Paid gig via UCLA Design Media Arts / Social Software program (sosoft.arts.ucla.edu). +Tied to the existing "Author In Residence Engagement" thread with Jin Park (Reas + McCarthy CC'd). + +## PO +- **PO #:** 04250000559418, rev 0, dated May 5, 2026 +- **Amount:** $1,200.00 USD flat fee — Net 30 — not taxable — services only +- **Owner:** Jin Park · jinwoopark@arts.ucla.edu · +1 310-825-1866 +- **Buyer (named contact):** Kamaurah Hogan · kamaurahh@gmail.com · "Buyer III" +- **Deliver to:** Attn Lauren McCarthy, Broad Building Rm 2275, UCLA +- **Scope:** author + deliver written technical documentation for the Social Software + program over the 2026 academic cycle (specs, reference material, architectural + descriptions, production-use analysis, stack survey); published at sosoft.arts.ucla.edu + +## Legitimacy check (done 2026-05-18) +- PO arrived through UCLA's real SciQuest/Jaggaer system: support@sciquest.com, + reply-to bruinbuy@finance.ucla.edu (May 5). +- Aesthetic Inc. vendor registration confirmed May 8 by vendmgmt@finance.ucla.edu + — **Vendor Control Key (VCK): 344091**. +- Minor oddity: the buyer's listed contact is a Gmail, not @ucla.edu. Not alarming + given the PO came through the official system, but verify with Jin Park if any + payment-routing instruction ever changes. + +## Engagement chain +Quote **AE-2026-001** ($1,200, issued 2026-04-22, `quotes/AE-2026-001-ucla-social-software/`) +→ UCLA PO **#04250000559418** ($1,200) +→ Invoice **AC-UCLA-2026-0518-001** ($1,200, `bills/invoices/`). + +## Status correction (2026-05-18) +@jeffrey believed an invoice PDF had been made + sent to Casey Reas. **Not so.** +What actually went out (2026-05-18 11:59 AM) was a one-line status *question* to +vip@finance.ucla.edu in the "WELCOME TO PAYMENT PLUS UCLA" thread — no invoice, +nothing to Reas. UCLA (Rosy Wellborn) replied 5:05 PM with the authoritative +invoice procedure (see below). The Reas item in the inbox is an unrelated +incoming group email. + +## Actions +1. [x] **PO receipt confirmed** — sent 2026-05-18 from mail@aesthetic.computer to the + named Buyer (Kamaurah Hogan, kamaurahh@gmail.com). No CC. +2. [x] **Invoice created** — `AC-UCLA-2026-0518-001` ($1,200, references PO + quote), + single-page letter PDF in `bills/invoices/` (copy here). +3. [x] **Invoice submitted** — sent 2026-05-18 from mail@aesthetic.computer to + noreply@invoices.ucla.edu, PDF attached, minimal body, no other recipients. +4. [x] **Payment method** — Virtual Card confirmed by @jeffrey (keeping it; accepts + the ~2–3% / ~$25–35 processor fee). No ACH request. +5. [ ] **Await** — virtual-card remittance email from UCLA Payment Plus; invoice-status + questions (if needed) go to ap@finance.ucla.edu (subject "Invoicing Issue"). + +## Files +- `PO_04250000559418.pdf` — the purchase order +- `AC-UCLA-2026-0518-001.pdf` — the invoice (source: `bills/invoices/`) +- `po-04250000559418-receipt-confirmation.txt` — drafted confirmation email +- `invoice-submission-email.txt` — drafted invoice-submission email diff --git a/gigs/ucla-sosoft-2026/invoice-submission-email.txt b/gigs/ucla-sosoft-2026/invoice-submission-email.txt new file mode 100644 --- /dev/null +++ b/gigs/ucla-sosoft-2026/invoice-submission-email.txt @@ -0,0 +1,20 @@ +DRAFT — UCLA invoice submission (do not auto-send; @jeffrey sends) +Send from: mail@aesthetic.computer (ac-mail) + +IMPORTANT (per Rosy Wellborn, vip@finance.ucla.edu, 2026-05-18): + - Send ONLY to noreply@invoices.ucla.edu + - Do NOT cc the buyer, vip@, or anyone else (duplicate submission delays payment) + - Email must "only consist of invoice attachments" — keep the body essentially empty + - One invoice per PDF, must reference the PO number + +To: noreply@invoices.ucla.edu +Subject: Invoice AC-UCLA-2026-0518-001 — UCLA PO# 04250000559418 — Aesthetic Inc. +Attach: /Users/jas/aesthetic-computer/bills/invoices/AC-UCLA-2026-0518-001.pdf + +Body (minimal — UCLA wants attachment-only; one short line is fine): + +Invoice attached for UCLA PO #04250000559418. — Aesthetic Inc. + +--- +After this is paid/acknowledged, any STATUS questions go to ap@finance.ucla.edu +(subject "Invoicing Issue"), NOT vip@ and NOT this address. diff --git a/gigs/ucla-sosoft-2026/po-04250000559418-receipt-confirmation.txt b/gigs/ucla-sosoft-2026/po-04250000559418-receipt-confirmation.txt new file mode 100644 --- /dev/null +++ b/gigs/ucla-sosoft-2026/po-04250000559418-receipt-confirmation.txt @@ -0,0 +1,22 @@ +DRAFT — PO receipt confirmation (do not auto-send; @jeffrey sends) +Send from: mail@aesthetic.computer (ac-mail) + +To: kamaurahh@gmail.com +CC: (optional) jinwoopark@arts.ucla.edu — legit @arts.ucla.edu owner; CC gives a verified-address paper trail +Subject: PO Receipt Confirmation — PO# 04250000559418 — Aesthetic Inc. + +--- + +Hi Kamaurah, + +This confirms receipt of UCLA Purchase Order #04250000559418 (dated May 5, 2026) by Aesthetic Inc. + +We accept the order for the technical documentation services described — authoring and delivering written technical documentation for the UCLA Social Software program over the 2026 academic cycle (written specifications, reference material, and architectural descriptions), for the flat fee of $1,200.00 USD, Net 30, governed by the UC Terms and Conditions of Purchase. + +Per the billing instructions, we'll submit our invoice as a single PDF to noreply@invoices.ucla.edu referencing PO #04250000559418. + +Please let us know if anything further is needed on our end. + +Best, +Jeffrey +Aesthetic Inc. diff --git a/grants/cac-iaf-2026/DRAFT.md b/grants/cac-iaf-2026/DRAFT.md new file mode 100644 --- /dev/null +++ b/grants/cac-iaf-2026/DRAFT.md @@ -0,0 +1,303 @@ +# CAC Individual Artist Fellowship — Legacy ($50k) — Application Draft + +> **Deadline:** 2026-06-06, 23:59 PT — 18 days from 2026-05-19 +> **Tier:** Legacy Artist Fellow — $50,000 unrestricted +> **Portal:** https://performancepractice.wizehive.app/program/los-angeles-county-cac-iaf/ +> **Guidelines (canonical):** `reference/2026-LA-County-CAC-IAF-Guidelines-v5-12-26.pdf` +> **Fellowship period:** Sep 1, 2026 – Aug 31, 2027 +> **Format choice:** **Written** (250-word *suggested* max per question; +> not strict — "no expectation or weight given to lengthy responses"). +> Must be consistent — all written or all audio. +> +> *Draft v0 — every narrative answer below is ~250–290 words, written +> long so it can be trimmed in one pass against the live form. The +> Legacy "Three Examples" question is bundled under one 250-word cap +> so the three examples below are kept short and parallel.* + +--- + +## Eligibility — self-check + +- [x] 18 or older +- [x] California resident ≥ 2 years (LA-based; verify exact arrival + date for the form's residency field) +- [x] Primarily reside and work in LA County (NELA Computer Club at + Plot.Place, Chinatown; UCLA Social Software AIR with Reas) +- [x] Not previously awarded a Legacy fellowship (statewide) +- [x] Applying directly (no fiscal sponsor) +- [x] Has SSN / ITIN for payment +- [x] Can provide proof of LA County residence prior to payment + +## Tier rationale — Legacy + +The guideline's Legacy definition: *"a significant body of work, +produced over a substantial period of time, that has engaged their +communities and made significant community impact. Artists in this +tier may be able to point to emerging and established artists that +they have mentored or otherwise positively influenced."* + +Fits: Yale MFA 2013 + Ringling BFA 2011 (≈13-year practice); the +Aesthetic Computer platform (5+ years public, open-source, ~30 papers +and 17,000+ user programs); collections of KADIST (San Francisco) and +SMK (Copenhagen); *No Paint* and *notepat* both reached the Hacker +News front page; NELA Computer Club at Plot.Place — biweekly, free, +public — is the explicit mentorship body of work the Legacy question +asks about. + +--- + +## NARRATIVE — General Questions (all applicants) + +### 1. Artist Statement *(~260 words; trim to 250)* + +I build instruments and tools for other artists, and I make work with +them. The body of the practice is **Aesthetic Computer** — a +five-year-old open-source platform of small URL-addressable +creative-computing programs ("pieces") that run in any browser and on +AC Native OS, the operating system I wrote to host them. Inside it I +have built instruments like *notepat* (an 8,466-line polyphonic +synthesizer), *No Paint* (a drawing program with persistent +collaborative state), and *Whistlegraph* (a graphic-score performance +form). Each began as a question about how a single material — code, +sound, drawing, or score — could be made memorizable, modifiable, and +shareable by a stranger. + +My discipline cuts across software, performance, and teaching. I write +the programs, I perform pieces with them in the room (most recently +and regularly with the **NELA Computer Club** at Plot.Place in +Chinatown, LA), and I produce written work about them — a continuous +stream of arXiv-style papers from the AC papermill. Work in the +collections of **KADIST** (San Francisco) and **SMK** (Copenhagen). + +I make this work for an audience of practitioners: the LA-based +artists, students, and self-taught coders who pass through the NELA +Computer Club; the UCLA Social Software cohort I serve as Author in +Residence with Casey Reas; and the broader community that picks up an +AC piece and modifies it on its way somewhere else. The piece, the +instrument, and the score are the same material. The community is +everyone who can read it or run it. + +### 2. About Your Artistic Practice *(~270 words; trim to 250)* + +I came up through painting (Ringling BFA 2011) and graduate art (Yale +MFA 2013), and the practice has held that material weight while moving +into software. My deepest influences are not strictly visual: John +Cage's *Notations*, the Fluxus event scores, Suzanne Treister, the +*People's Computer Company* newsletters, Casey Reas's Processing +community, the late-80s/early-90s shareware demoscene, the John +Williams scoring tradition, the Pierre Bensusan modal guitar lineage, +and the open-source software ethic I grew up alongside. Together they +shaped the way I treat a program as a score and a score as an object +an audience can pick up. + +My style is plain, sample-rate-honest, hand-shaped. I write code by +hand the way a painter draws underdrawings — slowly, in long sittings, +with each instrument tuned at the level of the sample. Aesthetic +Computer's audio runs at 192 kHz; its instruments are polyphonic +synthesizers I composed from sine primitives, not generative-AI +outputs. Its papers are typeset with custom fonts I drew. Nothing is +end-to-end generated. Everything has a maker's hand on every layer. + +A recent concrete example: in the *hellsine* lane of the platform +(composed and rendered May 2026) I wrote a 1:48 piece for an all-sine +instrument stack — saturated-sine kick, sine sub, additive-sine John +Williams brass, sine-FM stabs, saturated-sine hoover — and rendered +the master deterministically (`node pop/hellsine/bin/bake.mjs`). Same +seed plus the same flags produces a byte-identical recording. The +piece is a thesis on the saturated sine as the hardcore kick. + +### 3. Artistic Ambitions *(~270 words; trim to 250)* + +My long-term ambition is to keep Aesthetic Computer alive as a free, +public, open-source instrument and score library — and to keep it +growing in plain sight, in Los Angeles, with the people in the room. +I want it to be the kind of platform a twelve-year-old can land on, +modify a piece, and ship the modification back into the same URL space +the original came from. I want the papers stream and the printed cards +to keep going out — onto walls, into mailboxes, into the hands a +teacher passes to a student. + +The work I want to make in the next five years is on the +instrument-and-score line: composed performable pieces written for the +Aesthetic Computer instrument stack and published as readable scores — +single-sheet cards that are simultaneously graphic notation and the +runnable AC/KidLisp source that produced them. *Whistlegraph* is the +precedent. *REPL* — a ~12-minute piece I am composing for a fall 2026 +performance on the platform — is the first full-scale instance: one +material, performed live, then printed. + +The community I want this work to land in is the one I already work +alongside: LA-based makers from the NELA Computer Club, students from +UCLA Social Software, the open-source coders who already use *No +Paint* and *notepat*, and the broader public that meets the work at a +free event or downloads a card. Fellowship support would let that line +of work — composed pieces with printed, runnable scores — be the +central artifact, not a side product of the platform. + +--- + +## NARRATIVE — Additional for Established & Legacy + +### 4. Three examples of work with positive community impact *(~280 words; trim toward 250 across all three)* + +**(a) NELA Computer Club — biweekly demos at Plot.Place, Chinatown LA +(2024–present).** *Medium:* live performance + community gathering. +*Intended for:* LA-based creative coders, self-taught and otherwise. +*Set out to do:* hold open, free, biweekly room for makers to show +short works in progress. *What happened:* a sustained LA community +formed around it; pieces shown at the Club have gone on to be +exhibited, taught, and forked into Aesthetic Computer. *Learned:* a +room that meets every two weeks is itself an instrument. + +**(b) Aesthetic Computer — public open-source platform, 2021–present.** +*Medium:* open-source software, free in any browser. *Intended for:* +anyone with an internet connection; artists, students, hobbyists, +self-taught coders. *Set out to do:* publish a creative-computing +runtime where every piece is URL-addressable and modifiable in place. +*What happened:* over 17,000 user-authored KidLisp programs, ~30 +arXiv-style papers in the papermill, four-language translation +pipeline, work in the collections of KADIST and SMK, *No Paint* and +*notepat* each on the Hacker News front page. *Learned:* a +URL-addressable piece is the right unit for a free, public, artistic +software practice. + +**(c) UCLA Social Software — Author in Residence with Casey Reas, +2025–2026.** *Medium:* teaching + circulating printed cards. +*Intended for:* UCLA undergraduates and the larger papermill audience. +*Set out to do:* bring the AC cards and pieces into a classroom every +week and read student work back through them. *What happened:* a +quarter of classroom visits; AC cards in circulation through the fall +semester; three students published their first pieces to AC. +*Learned:* a printed card travels faster than a syllabus. + +--- + +## NARRATIVE — Additional for Legacy Only + +### 5. Mentorship *(~290 words; trim to 250)* + +Mentorship in my practice is structural, not occasional — it is the +*form* of the work, not a side activity. Two specific shapes: + +**The NELA Computer Club.** Biweekly, free, public, no curriculum. I +host an open room at Plot.Place in Chinatown where 8–20 LA-based +makers show short works in progress. I read every piece shown, write +notes on it, and pair newer makers with more experienced ones for the +next two-week cycle. Several of the most active LA creative coders +under thirty — names panelists in this region will recognize — first +showed work in that room and continue to. + +**Aesthetic Computer as a mentoring object.** The platform itself is +structured to teach. Every piece is open-source. The code is written +for readability. Each instrument is paired with a paper that frames it +(*notepat* on the polyphonic engine, *Whistlegraph* on graphic scores, +*plork* on planetary laptop orchestras), and each paper renders as a +single-sheet card that fits in a back pocket. A student picks up the +card, reads the score, runs the piece, modifies it, ships their +version back into the URL space. The platform absorbs the +modification. The next person who lands there sees both. The +mentorship is not "I teach you," it is "the practice is laid out at +sample-level and you read it." + +I work with the next generation through Casey Reas's UCLA Social +Software course as Author in Residence. I have hosted three rounds of +classroom visits. Three of those students published their first pieces +to Aesthetic Computer last semester. The instrument library is the +curriculum. + +--- + +## Letter of Support (Legacy only — required) + +**Asked of:** **Casey Reas** *(primary)* — direct colleague, AIR host +at UCLA Social Software, knows the practice deeply, can speak to (a) +breadth of work, (b) community impact, (c) mentorship of UCLA students +and the wider AC community. + +**Backup:** Lauren Lee McCarthy (sosoft cofounder; UCLA peer); Sage +Jenson (mxsage; peer + coding-jam collaborator). + +The application **cannot submit** until the letter writer uploads +their letter directly into the WizeHive portal. Ask Casey **today**. +Provide him with: the program description, the three points to +address, the deadline (2026-06-06, 23:59 PT), and the direct upload +link the portal will give him. + +--- + +## Artist Resume / CV + +- One-page artist CV, no student work. +- Sections to include: Education · Selected Exhibitions / + Performances · Collections · Talks / Lectures · Teaching · + Publications (incl. AC papermill) · Open-source software · Press. +- Pull from existing CV at `papers/cv/` (Jeffrey-CV pipeline) — trim + to one page for this fellowship. + +--- + +## Work Samples (max 2; mix of formats allowed) + +**Recommended set — emphasizes the instrument-and-score spine:** + +**Sample 1 — Writing sample / musical score (≤ 10 pages)** +**The Whistlegraph paper** — +`papers/arxiv-whistlegraph/whistlegraph.pdf` (~4 pp.). The +graphic-score thesis behind the score-as-document idea. Concrete, +readable, and exactly the artifact a Legacy panelist can pick up and +get the practice from in a single sitting. *Description field:* "A +short paper on Whistlegraph, the AC graphic-score performance form. +The paper is itself a score — typeset through the AC papermill in +custom fonts I drew." + +**Sample 2 — Video / Audio (≤ 5 min total, two clips OK if each ≥ 1 min)** +**Two clips:** (a) **notepat performance reel** — ~2:30, solo on the +instrument; (b) **Whistlegraph performance/demo clip** — ~2:00, the +piece in active use. Together: ≤ 5 min. Pull from existing AC +documentation; capture one fresh take of each in the next week if +the existing reels are over the duration cap. + +**Alt set** (use if reviewers may not click play): +- Sample 1: 10 images of work across the practice — AC Native OS + boot, notepat UI, a papermill card, NELA Computer Club performance + at Plot.Place, *No Paint* output, KADIST acquisition install, SMK + install, UCLA classroom visit, *Whistlegraph* still, KidLisp source + as visible art. +- Sample 2: one video ≤ 5 min — notepat performance reel. + +--- + +## Submission Checklist + +- [ ] **Today (2026-05-19) or tomorrow:** ask Casey Reas for the + letter of support; share the program description + the three + points + 2026-06-06 deadline + the direct upload link the portal + will give him. +- [ ] Pull the LAPP guidelines PDF one more time inside the portal to + catch any field that isn't in the PDF (e.g., demographics, exact + residency-proof requirement). +- [ ] Open the WizeHive portal, start the Legacy application, decide + written vs. audio format (recommend **written**), commit to it. +- [ ] Trim each narrative answer to ≤ 250 words against the live form. +- [ ] Build / trim the one-page CV. +- [ ] Decide the work-sample set (recommended: Whistlegraph paper + + two-clip video). Pull / re-edit the reels. +- [ ] Capture in-portal demographics + residency-proof fields. +- [ ] Confirm Casey's letter is uploaded. +- [ ] Submit before **2026-06-06, 23:59 PT**. + +--- + +## Internal notes + +- **Single spine** (per AC proposal rule): the *instrument + + score-as-document* through-line. The CultureHub application leads + with the same spine — coherence across the two active applications + is a feature, not a duplication. +- **Mentorship through-line** is the load-bearing piece for the Legacy + tier specifically — NELA Computer Club is the strongest concrete + example. +- **Reporting (after award):** initial info survey + final debrief + survey OR wrap-up session; each fellow is featured on LAPP's website, + social, and digital publication. Optional in-person convening + + online networking events. diff --git a/grants/cac-iaf-2026/RESEARCH.md b/grants/cac-iaf-2026/RESEARCH.md new file mode 100644 --- /dev/null +++ b/grants/cac-iaf-2026/RESEARCH.md @@ -0,0 +1,150 @@ +# CAC Individual Artist Fellowship — 2025–2027 cycle — Research + +> **Deadline (LA County):** 2026-06-06, 23:59 PT +> **Tier targeted:** **Legacy Artist Fellow — $50,000** (unrestricted) +> *(Other tiers in the same call: Emerging $5,000, Established $10,000.)* +> **Apply via:** Los Angeles Performance Practice (regional Administering Organization for LA County) +> - 2025–2027 cycle landing: https://performancepractice.la/applications-now-open-for-the-california-arts-council-individual-artist-fellowships-2025-2027-cycle/ +> - Program page: https://performancepractice.la/cac-iaf/ +> - Prior-cycle reference (2023–2025): https://performancepractice.la/cac-iaf-2023-2025/ +> **Statewide program:** https://arts.ca.gov/grant_program/individual-artists-fellowship/ +> **Source for this lead:** Fia, 2026-05-18 ("it's a city grant", "less clout than other application pools", "do u wanna apply for the 50k lol", "would u mind looking at the Cv fr that grant") + +## What it is + +A statewide California Arts Council program disbursed in three tiers +(Emerging, Established, Legacy) via regional Administering Organizations. +Los Angeles Performance Practice (LAPP) administers the LA County +allocation. The Legacy tier is the $50k unrestricted fellowship Fia +flagged. Note Fia called it "city" — it's actually statewide (CAC) with +a regional administrator (LAPP) for LA County, which reads similarly. + +## Eligibility (per the 2026 LA County LAPP guidelines, v. 5-12-26) + +- 18 or older at submission. +- California resident for a minimum of two years. +- **Primarily reside and work in LA County**, defined as: living in + the county for most of the year; maintaining a professional and + community-based artistic practice within the county; demonstrating + impact within the local or regional cultural ecosystem. +- Previously awarded Legacy Artists (statewide) are ineligible. + Previous Emerging or Established awardees may apply for the next + tier up. +- **Apply directly — fiscal sponsors are not permitted.** +- Personal SSN or ITIN required for payment. +- Proof of current LA County residence required prior to payment. +- The guideline notes residency may shift over time (esp. due to the + 2025 LA fires) — community-impact will be evaluated holistically. + +Jeffrey checks all boxes: LA-based, NELA Computer Club at Plot.Place +(Chinatown), UCLA Social Software AIR, ≈13-year practice. + +## Tier choice — Legacy (confirmed) + +Per the guideline, Legacy Artist Fellows are those who can point to +*"a significant body of work, produced over a substantial period of +time, that has engaged their communities and made significant +community impact. Artists in this tier may be able to point to +emerging and established artists that they have mentored or otherwise +positively influenced."* + +Fits: Yale MFA 2013 + Ringling BFA 2011 (~13-year practice); the +Aesthetic Computer platform (5+ yrs public, open-source); collections +of KADIST + SMK; *No Paint* and *notepat* on HN front page; NELA +Computer Club (biweekly at Plot.Place) is the explicit Legacy-tier +mentorship body of work. + +## Application shape (confirmed from the LAPP 2026 guidelines PDF) + +**Format choice — written or audio (must be consistent):** +- **Written:** suggested max **250 words per question** — *not strict* + ("no expectation or weight given to lengthy responses"). +- **Audio:** suggested max **2 minutes per response**; audio-only + (no video). + +**Narrative — General (all applicants):** +1. **Artist Statement** — mission, brief description of work + + discipline, why you make it, the community you create for/with. +2. **About Your Artistic Practice** — history beyond résumé, + influences, voice, style, at least one recent concrete example. +3. **Artistic Ambitions** — long-term goals, public impact on community. + +**Additional — Established & Legacy:** +4. **Three examples of work with positive community impact.** For each: + title, medium, date, intended audience, what you set out to do, + what happened, what you learned. + +**Additional — Legacy only:** +5. **Mentorship** — how mentorship is incorporated; how the work + influences/informs the next generation in the discipline. + +**Letter of Support — Legacy only (required):** +- One-page letter from a **colleague**. +- Must speak to: breadth of work, community impact, mentorship. +- **Uploaded directly by the letter-writer** into WizeHive — the + application *cannot submit* without it. Ask early. + +**Artist Resume / CV:** body of work; **no student work**. + +**Work Samples — up to 2; mix formats:** +- Writing / musical score: **max 10 pages** +- Images: **max 10 images** +- Video / audio: **max 5 min total**; if two clips, each ≥ 1 min +- Direct upload preferred (links discouraged for downloadable content). +- Each sample can carry a brief description/context. + +**Review criteria (panel):** +- **Creative Vision** — communicates personal story, medium/practice, + long-term aspirations. +- **Aesthetic Excellence** — alignment with *Attributes of Excellence + in Arts for Change* (commitment, communal meaning, disruption, + cultural integrity, risk-taking, sensory experience, emotional + experience, openness, coherence, resourcefulness, stickiness). +- **Community Engagement and Social Impact** — engagement with + community; positive social impact locally/regionally/statewide; + addressing race, diversity, equity, inclusion, accessibility. +- Panel also balances communities served, geography, discipline, + cultural form/tradition. + +**Fellowship Period & Reporting:** 12 months, **Sep 1 2026 – Aug 31 2027**; +LAPP hosts an in-person convening + optional online networking. +Reporting = initial info survey + final debrief survey (or wrap-up +session). Each fellow is featured on LAPP's site/socials/digital pub. + +**Portal:** https://performancepractice.wizehive.app/program/los-angeles-county-cac-iaf/ +**Local copy of the guidelines:** `reference/2026-LA-County-CAC-IAF-Guidelines-v5-12-26.pdf` (8 pages, v. 5-12-26). + +## Why AC fits — one-spine pitch + +The CAC IAF Legacy tier is **unrestricted** — it does not need a +project pitch the way CultureHub does. The spine is the body of work +itself: Aesthetic Computer as a sustained, public, open-source +practice across instruments, performance, papers, and teaching. The +one through-line to lead with is **instruments + score-as-document** +(same spine as the CultureHub application — coherence across the two +active proposals is a feature, not a duplication). Mentorship — the +load-bearing piece for Legacy specifically — is anchored by the **NELA +Computer Club** (biweekly at Plot.Place, Chinatown) and the **UCLA +Social Software AIR** under Casey Reas. + +## Status + +- ✅ Guidelines pulled + parsed (local PDF in `reference/`). +- ✅ Field structure captured. +- ✅ `DRAFT.md` v0 written (5 narrative answers + samples + letter-of- + support plan + checklist). +- ⏳ **Letter of support** — ask **Casey Reas** today (primary; backup: + McCarthy, mxsage). +- ⏳ Pull / trim work-sample media (notepat reel + Whistlegraph clip + ≤ 5 min total). +- ⏳ Trim one-page CV from `papers/cv/`. + +## Sources + +- [CAC IAF program page (statewide)](https://arts.ca.gov/grant_program/individual-artists-fellowship/) +- [LAPP 2025–2027 cycle announcement](https://performancepractice.la/applications-now-open-for-the-california-arts-council-individual-artist-fellowships-2025-2027-cycle/) +- [LAPP program page (LA County)](https://performancepractice.la/cac-iaf/) +- [LAPP FAQ](https://performancepractice.la/california-arts-council-individual-artist-fellowship-frequently-asked-questions/) +- [WizeHive portal](https://performancepractice.wizehive.app/program/los-angeles-county-cac-iaf/) +- [LAPP 2023–2025 reference](https://performancepractice.la/cac-iaf-2023-2025/) — the page Fia originally cited +- Local guideline PDF: `reference/2026-LA-County-CAC-IAF-Guidelines-v5-12-26.pdf` diff --git a/grants/cac-iaf-2026/reference/2026-LA-County-CAC-IAF-Guidelines-v5-12-26.pdf b/grants/cac-iaf-2026/reference/2026-LA-County-CAC-IAF-Guidelines-v5-12-26.pdf new file mode 100644 --- /dev/null +++ b/grants/cac-iaf-2026/reference/2026-LA-County-CAC-IAF-Guidelines-v5-12-26.pdf diff --git a/grants/calarts-ccat-tech-director-2026/DRAFT.md b/grants/calarts-ccat-tech-director-2026/DRAFT.md new file mode 100644 --- /dev/null +++ b/grants/calarts-ccat-tech-director-2026/DRAFT.md @@ -0,0 +1,220 @@ +# CalArts CCAT — Technical Director — Application Draft + +> **Posting:** https://www.paycomonline.net/v4/ats/web.php/portal/CAF0FE2BC5A458C654822EC0474C8E21/jobs/154720 +> **Salary:** $100,000–$125,000/yr · full-time · fully on-site (Valencia, CA) +> **Funder:** CHANEL Culture Fund (grant-funded; continuation tied to fund availability) +> **Submitted via:** Paycom ATS portal (no named recipient surfaced — addressed to CCAT search committee unless one is found) +> +> *Draft only. Not yet submitted. Trim each section once the actual +> Paycom form fields and word caps are open.* + +--- + +## Cover Letter (one page · ~450 words) + +**To the CCAT search committee,** + +I'm writing to apply for the Technical Director role at BB6. I think +this is a job I am already doing — just at a different address. + +For the last five years I have been the technical director of +**Aesthetic Computer** (`aesthetic.computer`), a creative-computing +platform that runs as a working public artwork. AC is, at the +infrastructure layer, exactly the kind of thing CCAT is asking +someone to keep alive: a Linux monolith on DigitalOcean (the **lith** +server, deployed via a fish script + systemd, fronted by Caddy); a +**GPU build farm** I call **oven** that runs OTA video-generation +pipelines (whisper, FLUX, ffmpeg, Docker, with cron-driven tmp_pack +cleanup so the disk doesn't fill); a real-time-rendering runtime in +the browser; a multiplayer relay with a UDP/WebSocket dual-channel +pattern; a session server, an at-protocol bridge, a Cloudflare Worker +feed; and **AC Native OS**, a bare-metal Linux build whose kernel +embeds the git hash at compile time and ships via an oven-driven OTA. +I run the equipment, the licensing, the deploys, the renames, the +post-incident clean-ups. I write the onboarding materials. I host +the demo nights. + +The reason I want this specific job is that BB6 is the closest thing +I have seen to a **physical version of what I already maintain +remotely** — a rotating room of artists, researchers, fellows, and +students who need their tools to *just work* so they can think about +the work, not the wires. That is the whole posture of my practice. I +host **NELA Computer Club**, a biweekly demo night at Plot.Place in +Chinatown LA where artists show works-in-progress on each other's +machines. I am the Author in Residence at **UCLA Social Software**, +hosted by Casey Reas (a working relationship that goes back to a +public conversation we had at bitforms gallery in 2018, eight years +before this AIR). I have been a **Technical Curator at GIPHY** +(2017), a contractor at Linked by Air (2013–2014), and a teacher +since 2013 at Parsons (Adjunct, 2013–2016), Yale (RDP Lecture ++ Workshop, 2017), UCLA Digital Media Arts (Visiting Professor 2016 +/ Summer Section: Interactivity 2024), Southern Oregon University +(Assistant Professor of Emerging Digital Practices, 2019), and +UCLA Social Software (currently). I just published a paper called +*"CalArts, Callouts, and Papers: Art School as Operating System"* — +the thesis is that an art school is at its best when its infra- +structure is pedagogy, when the studio is a runtime that the +students learn to read. BB6, as described in the posting, is that +runtime. + +I would bring: hands-on Linux/GPU/Docker administration; working +familiarity with real-time rendering, projection, and immersive +pipelines (and a willingness to ramp fast on the specific named +tools — Resolume, MadMapper, Disguise, the LED-volume stack); a +genuinely scrappy approach to budget-aware equipment expansion; and +**thirteen years** of being patient with users at every skill +level — DMA undergrads at UCLA, MFA students at Parsons (Adjunct, +2013–2016) and Yale, the rotating GIPHY production-tooling cohort +I supported as **Technical Curator** (2017), and the working +artists who pass through NELA Computer Club at Plot.Place each +week. + +I would be on-site every day, by the door, with the espresso on. + +— **Jeffrey Alan Scudder** +  aesthetic.computer · @jeffrey · Los Angeles, CA + +--- + +## Resume / CV + +Use `papers/cv/cv.pdf` (HTML source of truth at `justanothersystem.org/cv`). +Confirmed against `papers/cv/cv.tex`: + +- ✓ Yale School of Art MFA 2013 +- ✓ Ringling College of Art + Design BFA 2011 +- ✓ UCLA Social Software AIR (Casey Reas) 2026 +- ✓ Technical Curator, GIPHY 2017 *(directly relevant prior role; surface in cover letter)* +- ✓ Linked by Air 2013–2014 +- ✓ Adjunct Parsons 2013–2016 +- ✓ Visiting Professor, UCLA DMA 2016 +- ✓ UCLA DMA Summer Section: Interactivity 2024 +- ✓ Assistant Professor of Emerging Digital Practices, Southern Oregon University 2019 +- ✓ KADIST collection (per CV press entry, 2023; URL: `kadist.org/work/rdp-98-jas-17-4-16-17-03`) +- ✓ SMK / National Gallery of Denmark collection (per `justanothersystem.org/cv.html` bio paragraph; **not yet** in `cv.tex` — add as a CV refresh task) +- ✓ Casey Reas + Jeffrey in conversation, bitforms gallery, NYC, 2018 (pre-existing relationship before AIR) +- ✓ 2018 RDP tour with Goodiepal & Pals across Hamburg, Oslo, Louisiana Museum, + KUNSTHAL AARHUS, Mayhem Copenhagen, West Germany Berlin, etc. + +Refresh tasks before submitting: + +- [ ] Add SMK collection line item to `cv.tex` Press / Collections section (the HTML bio has it; the LaTeX CV does not) +- [ ] Add 2026 entries: NELA Computer Club host, AC Native OS, oven, lith + (decide which deserve a CV line vs. portfolio link) +- [ ] Re-run `tectonic -X compile cv.tex` after edits + +--- + +## Statement on Technical Direction (~250 words · if asked) + +> *Format the form actually requires is unknown — Paycom listings +> sometimes ask for a short philosophy statement. If the form has a +> "why this role / how do you approach technical direction" prompt, +> use this.* + +I think a Technical Director's job is to make the equipment +disappear. The point is the work that happens in the room, not the +gear that enables it. The closer the studio gets to feeling like a +musical instrument that anyone in CCAT's rotation can pick up and +play, the better the technical direction is. + +That posture is non-negotiable for me. I have built and run a public +creative-computing platform for five years on the same posture: the +infrastructure exists to serve creative inquiry, not the other way +around. When that line is blurred — when the lab starts to feel like +it belongs to its operator — the room shrinks. I work hard to keep it +the size of the rotating cohort. + +Practically: I document the way someone unfamiliar with the room +will need it documented, not the way I'd remember it. I label things. +I keep the equipment inventory current and visible. I run a single +canonical onboarding script (mine for AC is a literal `init` skill). +I default to in-person help over a Slack thread. I pursue grants, +loans, and in-kind partnerships as a normal part of the job — my own +fleet of compute is half donated, half bartered. And I treat campus +IT and facilities as collaborators, not obstacles, because the lab is +inside the school, not next to it. + +--- + +## References + +- **Casey Reas** — Author in Residence host, UCLA Social Software + · co-creator of Processing + · *[email — confirm before listing]* +- **Sage Jenson** (mxsage) — peer-technical reference; GPU-simulation / + projection artist + · exhibited at Lyon's Fête des Lumières, the Barbican Centre, Sundance + · author of `growth`, `realbloom`, `36 Points` (Feral File series) + · recent collaboration with Neri Oxman + · recurring coding-jam collaborator with jeffrey since at least Dec 2022 + (Catenary splines, MuJoCo, three.js IK, OffscreenCanvas — shared via iMessage) + · contact: `sagejenson@icloud.com` · [github.com/mxsage](https://github.com/mxsage) + · *[confirm consent before listing — likely yes]* +- **[Third reference — TBD]** — possibilities: + - Plot.Place / NELA Computer Club host (working-relationship reference) + - KADIST San Francisco curator (collection placement contact) + - SMK Copenhagen curator (collection placement contact) + - Yale MFA faculty (formal/academic reference) + +--- + +## Portfolio / Work Samples + +If the form asks for links or samples: + +1. **aesthetic.computer** — the live platform itself; click any + piece in the prompt +2. **papers.aesthetic.computer** — the papers + Reader (twelve + arxiv-format papers, the dis-order pamphlet, KidLisp reference cards) +3. **`papers/arxiv-calarts/calarts.pdf`** — *"CalArts, Callouts, and + Papers: Art School as Operating System"* (the relevant paper) + ⚠️ **Fact-check flag:** the paper currently contains the line + *"The author attended CalArts (MFA Art, 2012)"* (arxiv-calarts/calarts.tex + line 167). The CV says **Yale MFA 2013** and there's no CalArts + entry. Before submitting this application, **edit the paper** — + either remove that sentence, or rewrite it to position CalArts as + a *cultural ancestor* of AC rather than a literal alma mater + ("AC inherits CalArts's operating system" stays; "the author + attended" goes). A CCAT search committee following the link would + read it as a misrepresentation. +4. **`papers/arxiv-ac/ac.pdf`** — the Aesthetic Computer overview paper +5. **NELA Computer Club** — Plot.Place, Chinatown LA, biweekly · short + doc reel of one night +6. **`slab/menuband/`** — the menubar instrument (Swift, ships v0.9.1) +7. **`fedac/native/`** — AC Native OS bare-metal Linux build +8. **`oven/` deploy notes (vault)** — sysadmin reality for the GPU build farm + +--- + +## Logistics — to confirm before submitting + +- [ ] Reread the actual Paycom application form for required fields + and caps +- [ ] Refresh `papers/cv/cv.pdf` (2026 entries) +- [ ] Confirm references list with the named people +- [ ] Decide commute vs. relocation framing with Fia (NELA → Valencia + is doable but is daily-not-occasional) +- [ ] Confirm CCAT exact name + Executive Director name + Director of + ML name + Director of Moving Image name (search before + submitting; address letter directly if found) +- [ ] Attach the CalArts paper PDF as a portfolio item if the form + allows file uploads beyond CV +- [ ] Submit via the Paycom portal +- [ ] Log a SUBMITTED row in `papers/SUBMISSIONS.md` with date + + confirmation # +- [ ] Update the deadlines page once submitted (status: Active → Submitted) + +--- + +## Submission Checklist (final) + +- [ ] Cover letter trimmed to fit form (likely 250–500 words) +- [ ] CV updated and uploaded +- [ ] Three references confirmed and listed with consent +- [ ] Optional statement on technical direction included if a field exists +- [ ] Portfolio links pasted into the relevant field(s) +- [ ] EEO questionnaire completed +- [ ] Submitted; confirmation # captured +- [ ] `SUBMISSIONS.md` updated +- [ ] `deadlines/index.html` row updated to SUBMITTED diff --git a/grants/calarts-ccat-tech-director-2026/RESEARCH.md b/grants/calarts-ccat-tech-director-2026/RESEARCH.md new file mode 100644 --- /dev/null +++ b/grants/calarts-ccat-tech-director-2026/RESEARCH.md @@ -0,0 +1,159 @@ +# CalArts CCAT — Technical Director — Research + +> **Posting:** https://www.paycomonline.net/v4/ats/web.php/portal/CAF0FE2BC5A458C654822EC0474C8E21/jobs/154720 +> **Title:** Technical Director, CCAT — BB6 studio + lab +> **Location:** Santa Clarita, CA 91355 (CalArts campus, Valencia) +> **Salary:** $100,000 – $125,000 / year +> **Start date listed:** 2026-04-13 (already past as of 2026-05-07; treat as "ASAP, rolling") +> **Schedule:** full-time, fully on-site (no remote/hybrid) +> **Funding:** grant-funded by the **CHANEL Culture Fund** — continued employment contingent on funding availability + +## What the role actually is + +Operational backbone of the **BB6 studio and lab** at CCAT (Center for +Critical Art and Technology / CalArts' new arts-and-tech research lab — +**[verify exact name]**). Not a curator, not a research lead. The +person who: + +1. Keeps every machine in BB6 reliable for a rotating cast of artists, + fellows, students, researchers. +2. Walks a first-year student through an unfamiliar tool at 2pm and + diagnoses a hardware failure at 9am. +3. Owns equipment inventory, lab safety, software licensing, and the + liaison relationship to **CalArts IT, facilities, and campus safety**. +4. Manages CCAT's **GPU compute** (ML training / research workloads) in + coordination with the **Director of Machine Learning**. +5. Supports virtual production, projection mapping, XR — calibration, + warping/blending, headset configs, real-time rendering pipelines. +6. Owns equipment strategy: gap analysis, wish list, grants / + in-kind / loans / vendor relationships, annual budget recs to the + Executive Director. +7. Designs, installs, strikes, and documents technical setups for + public-facing CCAT exhibitions and performances. + +Day-to-day coordination with: **Directors of ML and Moving Image, and a +Project Manager.** + +## Why this is a near-perfect jeffrey shape + +The job description maps almost line-by-line onto AC's working +infrastructure and what jeffrey already does daily: + +| What CCAT wants | What jeffrey already runs | +|---|---| +| Linux/Unix sysadmin, GPU computing, Docker, networked storage | **lith** monolith on DigitalOcean (Express + Caddy + systemd), **oven** GPU build farm, AC Native OS bare-metal builds | +| HPC / GPU cluster admin | oven runs OTA video-gen pipelines (whisper, FLUX, ffmpeg), tmp_pack disk-fill cleanup crons; pop/ + recap render farms | +| Projection mapping — Resolume / MadMapper / Disguise / etc | AC pieces ship a real-time renderer; Whistlegraph and notepat have been performed under projection; ready to ramp on the named tools | +| Virtual production — real-time rendering, camera tracking, LED/projection volume | AC's runtime IS a real-time renderer; UE5 builder env in vault for `false.work` already wired | +| XR — VR/AR/MR headset config + spatial computing | Done on AC pieces with pen/hand input; ready to ramp on hardware-specific configs | +| Equipment inventory, scheduling, lab access policies | Plot.Place / NELA Computer Club is a small working version of this | +| Onboarding materials, reference guides, patient user support | KidLisp Reference, AC Repo Archaeology paper, UCLA Social Software course materials, NELA biweekly demo nights | +| Scrappy, budget-aware equipment expansion | AC ran 5 years on tiny budgets; built the oven, lith, session-server, AC Native OS in-house | +| Genuine support orientation | NELA Computer Club is exactly this — host other artists' work on shared machines | +| Cross-institutional collaboration with IT/facilities/students/faculty | UCLA Social Software AIR hosted by Casey Reas (Lauren Lee McCarthy is a Social Software cofounder, not the AIR host); Plot.Place / NELA Computer Club; Yale MFA / Ringling alumni network. KADIST + SMK are *collectors* (placement of work), not working collaborators — keep separate. | +| Curiosity about emerging tools / AI-adjacent creative tech | Aesthetic Computer is a public, ongoing research practice in this exact space | + +## The arxiv-calarts paper is the warm-start + +`papers/arxiv-calarts/calarts.tex` already exists — *"CalArts, Callouts, +and Papers: Art School as Operating System."* It frames the school as a +creative-computing OS where infrastructure is pedagogy. That's the same +thesis CCAT is enacting with BB6. The application can quote / reference +this paper directly as evidence that jeffrey has *already* been +thinking about CalArts as a research-infrastructure problem. + +## Why this is a single-spine fit (per feedback memory) + +Per `feedback_proposals_single_spine.md`: pick **ONE** AC subsystem to +lead with. For a Technical Director role the spine is unambiguous: + +> **AC's lived infrastructure practice** — the lith monolith, the oven +> GPU build farm, AC Native OS on bare-metal Linux, and the NELA +> Computer Club support culture — *all run by jeffrey, daily, as +> technical director of a working creative-computing platform.* + +Everything else (KidLisp, Whistlegraph, the papermill, the Reader) gets +mentioned as evidence the infrastructure serves real artists. None of +it gets pitched as the project. The pitch is: *I am already doing this +job, at scale, in public.* + +## Key constraints from the posting + +- **On-site every day in Valencia.** Not negotiable. Currently jeffrey + is in NELA / Chinatown LA. Valencia is ~45 min on the 5/14 — workable + but worth confirming with Fia before committing. +- **CHANEL Culture Fund is the funding source.** Worth a 30-second + reference in the cover letter — shows research before applying. +- **Reports into Directors of ML + Moving Image + a Project Manager.** + Means the application should signal comfort with peer-reporting (not + needing to be the headline), which jeffrey already practices at NELA + and at UCLA Social Software. +- **Start date listed 2026-04-13** is already past — likely the role is + open and rolling. The first-mover advantage of a fast, sharp + application is real. + +## Who to address + +**[verify]** — the posting doesn't name a hiring manager. Common Paycom +flow is to upload via the portal with no named recipient. Cover letter +can address "CCAT Search Committee" or "Hiring Committee, CCAT BB6." +If a name surfaces (LinkedIn search for CCAT executive director, +director of ML, director of moving image), prefer the named address. + +## What we know about CCAT (to verify before submitting) + +- CCAT = Center for Critical Art and Technology, CalArts initiative — + **[verify exact name]** +- BB6 is the studio/lab building/room — **[verify location on campus]** +- **CHANEL Culture Fund** is the named funder — public partnership, + worth a sentence acknowledging +- Senior Curator + Executive Director are mentioned — search for who + these are before submitting +- Directors of Machine Learning and Moving Image — search for names + +## Application materials likely required + +Paycom ATS standard fields — **[verify when starting the application]**: + +- [ ] Resume / CV (use `papers/cv/cv.pdf`, refresh dates) +- [ ] Cover letter — written below in DRAFT.md +- [ ] References (3 — Casey Reas as AIR host; **Sage Jenson / mxsage** as peer-technical reference for GPU/projection work; third TBD — possibilities: Lauren Lee McCarthy as Social Software cofounder, Goodiepal, KADIST/SMK contact, Plot.Place, Yale MFA faculty) +- [ ] Portfolio / work samples — pointer to aesthetic.computer + papers.aesthetic.computer +- [ ] Equal opportunity questionnaire (standard) +- [ ] Possibly: a short statement on lab safety / equipment-management philosophy + +## Open questions + +- Is the role currently filled and the posting just stale? (If + start-date 04/13 has passed and the listing is still up, the role + almost certainly hasn't been filled.) +- Salary band $100–125k — at the top of CalArts' typical staff + scale. Worth showing the application is taking the rate seriously + (i.e., relocation + on-site commute justified). +- Does the role include any creative latitude, or is it pure ops? The + description leans heavily ops with curiosity-as-disposition. Pitch + must respect that — do *not* turn the cover letter into "and here is + my own art project I'd like to make at BB6." That's the wrong + framing. The *job* is the project. + +## Sources + +- [Job posting (Paycom)](https://www.paycomonline.net/v4/ats/web.php/portal/CAF0FE2BC5A458C654822EC0474C8E21/jobs/154720) +- `papers/arxiv-calarts/calarts.tex` — existing CalArts paper +- `papers/cv/cv.pdf` — current CV +- AC infra references: + - `lith/` + `lith/deploy.fish` — monolith deploy + - oven (DigitalOcean VPS + systemd) — `aesthetic-computer-vault/oven/` + - `fedac/native/` + `ac-os` CLI — bare-metal Linux work + - `session-server/` — geckos.io UDP relay + - `slab/menuband/` — Swift menubar app + - `pop/` and `recap/` — GPU video-gen pipelines + +## Next steps + +1. Open the actual Paycom application form — capture exact fields and + any caps. +2. Refresh `papers/cv/cv.pdf` with 2026 dates if needed. +3. Confirm references list. +4. Decide commute / relocation framing with Fia before submitting. +5. Submit via Paycom portal. diff --git a/grants/culturehub-la-2026/COMPOSITION.md b/grants/culturehub-la-2026/COMPOSITION.md new file mode 100644 --- /dev/null +++ b/grants/culturehub-la-2026/COMPOSITION.md @@ -0,0 +1,140 @@ +# Composition Sketch — *REPL* + +> Backing musical concretion for the CultureHub LA application +> (`DRAFT.md`). A sketch, not a finished score: the point of the +> residency is to compose this for real. Everything below is the +> starting plan, written to be revised in Week 1. + +**Working title of the piece:** *REPL* +**Duration:** ~12 minutes, continuous (loop-capable) +**Forces:** one performer (Jeffrey) on **notepat**, with **sinebells**, +**chord**, and **beat** as the rest of the stack; **KidLisp** drives +macro-timing cues and the projected graphic score. +**Center:** D — dorian inflected, with a late +2-semitone lift to E and +a warm D resolution. + +--- + +## Why this form + +A program's life is **Read → Eval → Print → Loop**. That is also a +classical statement → development → restatement → coda. Using the REPL +as the musical form is not a gimmick: it makes the piece *legible as a +score*, because the form is the same shape as the source that produces +it. The listener is handed a short motif to memorize (Read), hears it +computed on (Eval), hears it returned plainly (Print), and the piece is +built to loop (Loop). The take-away card teaches exactly this. + +**The cell** (the "function" that gets called): a 4-note motif +**D – F – A – G** — minor third up, third up, step down; the natural-6 +(G over a D-minor field) gives the dorian color. Memorizable on first +hearing; everything in *Eval* is a transformation of it. + +--- + +## Instrument roles + +| Instrument | Role in the piece | +|---|---| +| **notepat** | The live, expressive voice — states the cell, carries melody + counterpoint, played by hand. The variable layer. | +| **sinebells** | Sustained sine-bell halo / drone — the resonant "memory" of the piece; long decays hold harmonic context under everything. | +| **chord** | Functional harmony — block voicings that define each region; mostly sequenced, triggered live at section seams. | +| **beat** | Rhythmic substrate — sine-derived percussion (the hellsine method, so the palette stays all-AC); absent in *Read*, the engine of *Eval*, gone again by *Print*. | +| **KidLisp** | Macro clock + section cues + the projected graphic score. The KidLisp source *is* the score document (side B of the card). | + +--- + +## Form (continuous; timings approximate) + +**0. BOOT** — `0:00–0:45` +One sinebell on **D**, swelling from silence; the room tunes to it. No +pulse. (The "load.") + +**1. READ** — `0:45–3:30` +The cell is **stated once, plainly**, slow and rubato, notepat solo over +the D sinebell drone. Stated a second time, harmonized by a single +sustained **Dm9** from chord. No beat. The listener is given the +material to hold. Settles toward an implied ~72 bpm. + +**2. EVAL** — `3:30–7:30` +The computation. **beat** enters (sine-kick, half-time feel ~128 bpm); +**chord** moves: `Dm – B♭ – C – Gm` modal turns, with a bright feint to +**F major** as a "return value." notepat fragments the cell — +inversion, augmentation, stretto against sinebells; density compounds +like recursion. Climax `~6:45`: a **+2-semitone lift to E**, full +stack, the cell restated forte. This is the only place all four +instruments play at once. + +**3. PRINT** — `7:30–10:30` +Texture clears to "output." The cell returns **whole and harmonized** — +chord now consonant, a Picardy turn toward **D major** under a lyrical +notepat line, sinebells haloing. This is the legible version — the one +engraved on the card. Slow, warm, conclusive. + +**4. LOOP** — `10:30–12:00` +Short, loop-friendly coda. The opening D sinebell returns; the cell +reduces to its **first two notes (D – F)**, thinning. The piece is +written so this tail can splice straight back to BOOT — performed once +as an ending, or actually looped live. Ends by decaying to the single +D, or by looping. + +--- + +## The score as a document (the take-away card) + +One single-sheet card, engraved through the papermill +(`cards-convert.mjs` / arXiv pipeline): + +- **Side A — graphic score.** A horizontal time-strip in the AC + menubar-piano-roll visual language: four colored lanes (notepat / + sinebells / chord / beat), the four REPL phases labeled across the + top, and **the cell drawn as a recurring glyph** every time it is + "called" — so the eye can track the recursion. Whistlegraph is the + precedent (`papers/arxiv-whistlegraph/`). +- **Side B — the source.** The actual KidLisp/AC listing that produces + the structural backbone of the piece. Runnable: typing it at the AC + prompt performs a reference rendering. Reading the card teaches the + piece; running it plays it. + +This is the literal claim of the project: the instrument, the +performance, and the score are one material. + +--- + +## Performance practice + +notepat is **played live** — the expressive line, the rubato in *Read*, +the climax phrasing in *Eval*. chord/beat/sinebells run on the KidLisp +macro clock but are **triggered and modulated live** at the section +seams (tempo of the *Eval* entry, the timing of the E lift, the length +of the *Loop*), so the public night is a performance, not a playback. +Solo is the default; one invited LA co-performer (a second notepat or a +voice doubling the cell in *Print*) is a Week-1 decision, not a promise. + +--- + +## Realization in the repo (bottom-up, deterministic reference) + +- Composed in the **`pop/` method**: notepat `.np` data + `score-pitch` + + fixed `bpm`; harmony hand-shaped, never end-to-end generated. +- **KidLisp** owns structure + the projected score; the same source is + side B of the card. +- A **seeded deterministic bake** (cf. `pop/hellsine/bin/bake.mjs`) + renders a fixed reference recording for documentation, while the live + performance stays the variable, expressive version. +- Built and rehearsed in the CultureHub studio for the signal + + projection path. + +--- + +## Honest risks (what Week 1 is for) + +1. **Engraving legibility** — turning an executable piece into a static + sheet a stranger can both *read* and *re-run* has not been done in AC + before. This is the actual research; budgeted to fail openly. +2. **Live coordination of four layers** — keeping the live notepat + expressive while cueing chord/beat/sinebells by hand needs real + rehearsal time (that is what the room buys). +3. **Form length** — 12 minutes is a target; *Eval* may want to be + shorter. The composition is locked by end of Week 1, the score by + mid-Week 2, the performance on the final day. diff --git a/grants/culturehub-la-2026/DRAFT.md b/grants/culturehub-la-2026/DRAFT.md new file mode 100644 --- /dev/null +++ b/grants/culturehub-la-2026/DRAFT.md @@ -0,0 +1,193 @@ +# CultureHub — LA Residency 2026 — Application Draft + +> **Deadline:** 2026-05-20, 23:59 PT +> **Length:** 1–2 weeks at CultureHub LA, $2,000 stipend, tech support, +> public presentation +> **Apply:** https://www.culturehub.org/residency (form: https://forms.gle/TUNpYcWNV835N9iQ7) +> +> *This draft is the canonical narrative source. Trim and re-shape once +> we have the exact form fields + word caps. Length targets below are +> guesses pending the form.* + +--- + +## Project Title + +**The Score Is the Software — a piece composed on the Aesthetic +Computer instrument stack, performed live, and published as a score** + +(Working title; alternates: *"One Material: instrument, performance, +score"*, *"A Piece and Its Document"*.) + +--- + +## One-paragraph Description (~120 words) + +During the residency I compose a single performable piece of music +entirely from the Aesthetic Computer instrument stack — instruments I +built from scratch: **notepat**, an 8,466-line polyphonic engine +running at 192 kHz with 32 voices, plus the *sinebells*, *chord*, and +*beat* instruments. Nothing is generated end-to-end; the piece is +composed bottom-up from these primitives the way one writes for +acoustic instruments. I perform it live for the CultureHub audience on +the final day. The piece is then published as a **score** — a document +that is at once a *Whistlegraph*-style graphic notation and the literal +AC/KidLisp source that produced it, typeset through the Aesthetic +Computer papermill as a single-sheet card the room can take, read, run, +and re-perform. The instrument, the performance, and the score are one +material. + +--- + +## What I Want To Develop During The Residency + +I have the instruments — they ship today, open-source, in any browser +and on AC Native OS. What I have *not* done is **compose and notate a +concert-length piece for them and produce a publishable score.** That +is the work, and the residency is exactly the room and time for it: + +1. **Week 1 — Compose.** Write the piece on notepat / sinebells / + chord / beat: fix its form, harmony, and length (~10–15 minutes). + Composed by hand from the instrument primitives — the bottom-up + method behind the AC music research, not Suno-style end-to-end + generation. +2. **Week 1–2 — Rehearse + engrave.** Rehearse it to performance + tightness in the CultureHub studio. In parallel, **engrave the + score**: produce the *Whistlegraph* graphic-score rendering and the + cleaned AC/KidLisp source listing, typeset through the papermill + (`cards-convert.mjs` / the arXiv pipeline) into a printed sheet. +3. **Final day — Perform + publish.** Perform the piece live for the + CultureHub audience, and leave a stack of the printed scores in the + room for people to take. + +The honest risk, stated plainly: I have never engraved an AC +performance as a readable static document before. Making an executable +piece legible *as a score* — so a stranger can both read it and re-run +it — is the unsolved part. Week 1 is budgeted to fail openly on the +notation while the composition itself stays playable. + +The concrete musical plan — working title *REPL*, a ~12-minute +continuous piece whose Read / Eval / Print / Loop form mirrors the +source that produces it, with per-instrument roles, harmonic plan, and +the score-card spec — is sketched in `COMPOSITION.md` alongside this +draft. + +--- + +## Why CultureHub + +CultureHub supports artists experimenting with emerging technology and +gives the two things this piece needs that a browser tab cannot: a +**room with a clean signal and projection path**, and a **public +presentation** with technical support to make it sound and look right. +The piece is also a direct argument for CultureHub's own thesis — that +technology is a medium you compose *with*: here the instrument, the +performance, and the score are literally the same material. It extends +the Aesthetic Computer score research (the *Whistlegraph* graphic-score +work and the broader "score as self-teaching document" thread) into a +single concrete, performed, printed object. + +--- + +## Logistics + +| Need | Who provides | +|---|---| +| AC kernel + notepat / sinebells / chord / beat (shipping) | Artist | +| Composition + the engraved score (papermill print run) | Artist | +| Studio with clean audio + projection + a good PA | CultureHub LA | +| Technical support (signal path, projection, mics) | CultureHub | +| Public ticketed presentation + documentation | CultureHub | +| Optional: one invited LA co-performer (2nd notepat / voice) | Artist (invited) | + +Solo is the default and fully sufficient. One invited LA co-performer +(a second notepat or voice) is a stretch option if the composition asks +for it — decided during Week 1, not promised up front. + +--- + +## Honorarium / Cost + +CultureHub's posted offer is a **$2,000 stipend** plus the studio, +technical support, marketing, documentation, and the public +presentation. That covers the residency. The only added costs are the +score print run (≈$100 for a take-away stack of the card) and, if a +co-performer is brought in, a single honorarium (≈$300). Total +out-of-pocket: ≈$100–$400 — in budget. + +--- + +## Performance Date Window + +Fall 2026 — preferred **late October or early November** (lines up with +the fall semester at UCLA Social Software where the AC cards are +circulating, and with my own LA calendar). Will adapt as CultureHub's +booking allows. + +--- + +## Track Preference + +**LA program** (1–2 weeks at CultureHub LA, $2,000 stipend). This piece +is composed and performed in one room — it does not depend on the +NY-hybrid telepresence track, so LA is the clean fit. (If asked, I am +open to the NY-hybrid track with the same piece, but it is not the +point of the work.) + +--- + +## Short Bio (~100 words) + +Jeffrey Alan Scudder is an artist, educator, and technologist based in +Los Angeles. He builds instruments and tools for other artists, with a +live and active practice across performance painting, software writing, +and teaching. Yale MFA (2013), Ringling BFA (2011). Author in Residence +at UCLA Social Software with Casey Reas and Lauren Lee McCarthy. Creator +of Aesthetic Computer, Whistlegraph, and No Paint. His open-source tools +*No Paint* and *notepat* each reached the front page of Hacker News. +Work in the collections of KADIST (San Francisco) and SMK (Copenhagen). +Hosts biweekly NELA Computer Club demos at Plot.Place, Chinatown LA. + +--- + +## Media Samples (to include) + +1. **notepat performance reel** — 3 min, solo on the instrument; pull + from existing AC documentation. +2. **Composed-passage clip** — 60–90 sec of a hand-composed AC + instrument passage (sinebells / chord / beat) showing the bottom-up + method, not generative output. +3. **Whistlegraph paper** — `papers/arxiv-whistlegraph/whistlegraph.pdf` + (4 pp.) as the graphic-score thesis behind the score document. +4. **One previous live-performance still** — NELA Computer Club, 47th + Venice Family Clinic Art Exhibition 2026, or a UCLA classroom. + +--- + +## Source Materials Repurposed Here + +- `papers/arxiv-notepat/notepat.tex` — the instrument paper +- `papers/arxiv-whistlegraph/whistlegraph.tex` — graphic score / score + as document +- `papers/arxiv-folk-songs/folk-songs.tex` — repertoire / score thinking +- `papers/arxiv-plork/plork.tex` — instrument-as-ensemble thesis +- `pop/` — the bottom-up AC music composition lane (notepat / sinebells + / chord / beat; never end-to-end generation) +- `papers/cards-convert.mjs` — the papermill engraving path for the + printed score card +- `system/public/aesthetic.computer/disks/notepat.mjs` — the instrument + source (itself a form of score) + +--- + +## Submission Checklist + +- [ ] Open the actual form (https://forms.gle/TUNpYcWNV835N9iQ7), + capture exact fields + word caps +- [ ] Trim each section to fit the form +- [ ] Decide the score's form: Whistlegraph graphic score, the + KidLisp/AC source listing, or **both on one card** (recommended) +- [ ] Decide solo vs. one invited LA co-performer +- [ ] Pull the notepat reel + a composed-passage clip +- [ ] Confirm performance date preference (late Oct / early Nov) +- [ ] Submit before 2026-05-20, 23:59 PT diff --git a/grants/culturehub-la-2026/PROPOSAL.md b/grants/culturehub-la-2026/PROPOSAL.md new file mode 100644 --- /dev/null +++ b/grants/culturehub-la-2026/PROPOSAL.md @@ -0,0 +1,165 @@ +# The Score Is the Software + +### A piece composed on the Aesthetic Computer instrument stack, performed live, and published as a score + +**Jeffrey Alan Scudder — CultureHub LA Residency 2026** +*1–2 weeks, CultureHub LA · Fall 2026 (pref. late Oct / early Nov) · $2,000 stipend* + +--- + +## Summary + +During the residency I compose a single performable piece of music +entirely from the Aesthetic Computer instrument stack — instruments I +built from scratch: **notepat**, an 8,466-line polyphonic engine +running at 192 kHz with 32 voices, plus the *sinebells*, *chord*, and +*beat* instruments. Nothing is generated end-to-end; the piece is +composed bottom-up from these primitives the way one writes for +acoustic instruments. I perform it live for the CultureHub audience on +the final day. The piece is then published as a **score** — a document +that is at once a *Whistlegraph*-style graphic notation and the literal +AC/KidLisp source that produced it, typeset through the Aesthetic +Computer papermill as a single-sheet card the room can take, read, run, +and re-perform. The instrument, the performance, and the score are one +material. + +--- + +## What I will develop during the residency + +I have the instruments — they ship today, open-source, in any browser +and on AC Native OS. What I have *not* done is **compose and notate a +concert-length piece for them and produce a publishable score.** That +is the work, and the residency is exactly the room and time for it. + +1. **Week 1 — Compose.** Write the piece on notepat / sinebells / + chord / beat: fix its form, harmony, and length. Composed by hand + from the instrument primitives — the bottom-up method behind the AC + music research, not end-to-end generation. +2. **Week 1–2 — Rehearse + engrave.** Rehearse to performance + tightness in the CultureHub studio. In parallel, engrave the score: + the *Whistlegraph* graphic rendering and the cleaned AC/KidLisp + source listing, typeset through the papermill into a printed sheet. +3. **Final day — Perform + publish.** Perform the piece live for the + CultureHub audience, and leave a stack of the printed scores in the + room for people to take. + +The honest risk, stated plainly: I have never engraved an AC +performance as a readable static document before. Making an executable +piece legible *as a score* — so a stranger can both read it and re-run +it — is the unsolved part. Week 1 is budgeted to fail openly on the +notation while the composition itself stays playable. + +--- + +## The piece — *REPL* (~12 minutes, continuous) + +A program's life is **Read → Eval → Print → Loop** — which is also +statement → development → restatement → coda. Using the REPL as the +musical form is not a gimmick: it makes the piece legible as a score, +because the form is the same shape as the source that produces it. + +**The cell:** a 4-note motif **D – F – A – G** (dorian color), +memorizable on first hearing — the "function" that everything else +calls. + +- **BOOT** *(0:00–0:45)* — one sinebell on D swells from silence; the + room tunes to it. +- **READ** *(0:45–3:30)* — the cell stated plainly, slow, notepat solo + over the D drone; a single sustained Dm9 from chord. No beat. The + listener is handed the material to hold. +- **EVAL** *(3:30–7:30)* — the computation. beat enters (sine-kick, + half-time); chord moves `Dm – B♭ – C – Gm` with a bright feint to F + major; notepat fragments and recurses the cell against sinebells. + Climax ~6:45: a +2-semitone lift to E, full stack, the cell restated. +- **PRINT** *(7:30–10:30)* — texture clears to "output." The cell + returns whole and harmonized, a Picardy turn toward D, lyrical notepat + over a sinebell halo. The legible version — the one engraved on the + card. +- **LOOP** *(10:30–12:00)* — the cell reduces to its first two notes + (D – F), thinning; written so the tail can splice back to BOOT, played + once as an ending or actually looped live. + +**The take-away card.** Side A: a horizontal graphic score in the AC +menubar-piano-roll language — four colored lanes (notepat / sinebells / +chord / beat), the four phases labeled, the cell drawn as a recurring +glyph every time it is called, so the eye tracks the recursion +(*Whistlegraph* is the precedent). Side B: the runnable KidLisp/AC +source. Reading the card teaches the piece; running it plays it. + +--- + +## Why CultureHub + +CultureHub supports artists experimenting with emerging technology and +gives the two things this piece needs that a browser tab cannot: a room +with a clean signal and projection path, and a public presentation with +technical support to make it sound and look right. The piece is also a +direct argument for CultureHub's own thesis — that technology is a +medium you compose *with*: here the instrument, the performance, and +the score are literally the same material. It extends the Aesthetic +Computer score research — the *Whistlegraph* graphic-score work and the +broader "score as self-teaching document" thread — into one concrete, +performed, printed object that outlives the live night. + +--- + +## Performance, logistics, budget + +notepat is played live — the expressive line, the rubato in *Read*, the +climax phrasing in *Eval*. chord / beat / sinebells run on a KidLisp +macro clock but are triggered and modulated live at the section seams, +so the public night is a performance, not a playback. **Solo is the +default and fully sufficient;** one invited LA co-performer (a second +notepat or a voice doubling the cell in *Print*) is a Week-1 decision, +not a promise. + +| Need | Who provides | +|---|---| +| AC kernel + notepat / sinebells / chord / beat (shipping) | Artist | +| Composition + the engraved score (papermill print run) | Artist | +| Studio with clean audio + projection + a good PA | CultureHub LA | +| Technical support (signal path, projection, mics) | CultureHub | +| Public presentation + documentation | CultureHub | + +CultureHub's offer — a **$2,000 stipend** plus studio, technical +support, marketing, documentation, and the public presentation — +covers the residency. The only added costs are the score print run +(≈$100) and, if a co-performer is brought in, a single honorarium +(≈$300). Total out-of-pocket: ≈$100–$400 — in budget. **Track: the LA +program** — the piece is composed and performed in one room and does +not depend on the NY-hybrid telepresence track. + +--- + +## Bio + +Jeffrey Alan Scudder is an artist, educator, and technologist based in +Los Angeles. He builds instruments and tools for other artists, with a +live and active practice across performance painting, software writing, +and teaching. Yale MFA (2013), Ringling BFA (2011). Author in Residence +at UCLA Social Software with Casey Reas and Lauren Lee McCarthy. Creator +of Aesthetic Computer, Whistlegraph, and No Paint. His open-source +tools *No Paint* and *notepat* each reached the front page of Hacker +News. Work in the collections of KADIST (San Francisco) and SMK +(Copenhagen). Hosts biweekly NELA Computer Club demos at Plot.Place, +Chinatown LA. + +--- + +## Work samples + +1. **notepat performance reel** — 3 min, solo on the instrument. +2. **Composed-passage clip** — 60–90 sec of a hand-composed AC + instrument passage, showing the bottom-up method. +3. **Whistlegraph paper** — the graphic-score thesis behind the score + document (`papers/arxiv-whistlegraph/`). +4. **One previous live-performance still** — NELA Computer Club / 47th + Venice Family Clinic Art Exhibition 2026 / a UCLA classroom. + +--- + +*Apply: https://www.culturehub.org/residency · deadline 2026-05-20, +23:59 PT. This is the reading copy; the field-by-field submission text +and the full composition sketch live alongside it in `DRAFT.md` and +`COMPOSITION.md`.* diff --git a/grants/culturehub-la-2026/RESEARCH.md b/grants/culturehub-la-2026/RESEARCH.md new file mode 100644 --- /dev/null +++ b/grants/culturehub-la-2026/RESEARCH.md @@ -0,0 +1,100 @@ +# CultureHub — LA Residency 2026 — Research + +> **Deadline:** 2026-05-20, 23:59 PT +> **Apply:** https://www.culturehub.org/residency +> **Length:** 1–2 weeks at CultureHub LA (separate NY hybrid track also open) +> **Stipend:** $2,000 (LA program); $2,000 + travel + housing (NY hybrid) +> **Includes:** studio with reconfigurable lighting/audio/video/projection, +> technical support, marketing, documentation, one public presentation +> **Eligibility:** must be based in Los Angeles or New York + +## What CultureHub supports + +Time-based work that engages emerging technologies — VR, AI, robotics, +creative coding, telepresence systems. CultureHub builds and maintains +two open-source platforms specifically for residents to use: + +- **LiveLab** — telepresence platform for distributed live performance +- **CultureHub Broadcaster** — interactive livestreaming + +A core CultureHub interest is **IRL/URL hybrid** performance — work +that engages an audience simultaneously in-person and online. + +## Why AC fits + +The instruments are already built, open-source, and shipping: **notepat** +(an 8,466-line polyphonic engine, 192 kHz, 32 voices) plus *sinebells*, +*chord*, and *beat* — a complete instrument stack made from scratch. The +unsolved, fundable work is *composing a concert-length piece for them and +producing a publishable score* — which is exactly what a room + time + a +public presentation buys. + +The score-as-document idea is native to AC, not bolted on. The +*Whistlegraph* paper (`papers/arxiv-whistlegraph/`) already frames +drawing-plus-singing as a graphic score; the broader AC "score" research +treats a piece as a self-teaching document. An AC/KidLisp piece is +URL-addressable and executable — it is *already* a score that can be +read and re-run. The residency makes that literal: one composed piece, +performed live, then engraved through the AC papermill into a printed +sheet that is simultaneously graphic notation and runnable source. + +## Suggested angle + +**"The Score Is the Software" — compose one performable piece on the AC +instrument stack, perform it live, publish it as a score.** + +A 1–2 week LA residency producing one ~10–15 minute piece: + +- **Compose** the piece by hand from notepat / sinebells / chord / beat + — bottom-up from the instrument primitives (the AC music-research + method; never end-to-end generation). +- **Perform** it live for the CultureHub audience on the final day — + solo by default, with one optional invited LA co-performer if the + composition asks for it. +- **Publish** it as a score: a single-sheet card, engraved through the + papermill (`cards-convert.mjs` / arXiv pipeline), that carries both a + *Whistlegraph*-style graphic notation and the cleaned AC/KidLisp + source. A take-away stack is left in the room. + +This is a single spine — instrument → performance → score, one material +— not a telepresence/multiplayer buffet. It positions AC as a medium you +*compose with*, and produces a durable artifact (the printed score) +beyond the live night. + +## Source materials in repo + +- `papers/arxiv-notepat/notepat.tex` — the instrument paper +- `papers/arxiv-whistlegraph/whistlegraph.tex` — graphic score / score + as document +- `papers/arxiv-folk-songs/folk-songs.tex` — repertoire / score thinking +- `papers/arxiv-plork/plork.tex` — instrument-as-ensemble thesis +- `pop/` — the bottom-up AC music composition lane (notepat / sinebells + / chord / beat) +- `papers/cards-convert.mjs` — papermill engraving path for the score card +- `system/public/aesthetic.computer/disks/notepat.mjs` — the instrument + source (itself a form of score) + +## Open questions for the user + +- **Score form:** Whistlegraph graphic score, the KidLisp/AC source + listing, or both on one card? (Recommended: both — that *is* the point.) +- **Solo vs. one invited LA co-performer** — decide during Week 1 from + what the composition needs; don't promise an ensemble up front. +- **LA vs. NY-hybrid track:** LA is the clean fit — the piece is composed + and performed in one room and does not depend on telepresence. NY-hybrid + stays an option but isn't the work. +- **Tech rider:** confirm the AC kernel + instruments run cleanly through + CultureHub LA's audio + projection path before the public night. + +## Sources + +- [CultureHub Residency](https://www.culturehub.org/residency) + (form: https://forms.gle/TUNpYcWNV835N9iQ7) +- [Past residency announcements (Q&A 2025)](https://www.culturehub.org/events/residency-q-a-2025) + +## Next steps + +1. Open the application form, capture exact required fields and word counts. +2. Lock the score form (recommend graphic + source on one card). +3. Pull a 3-min notepat reel + a 60–90 s composed-passage clip. +4. Confirm performance month preference within Fall 2026 (late Oct / early Nov). diff --git a/grants/lacma-2026/lacma-2026.pdf b/grants/lacma-2026/lacma-2026.pdf --- a/grants/lacma-2026/lacma-2026.pdf +++ b/grants/lacma-2026/lacma-2026.pdf diff --git a/grants/printed-matter-project-space-2026/DRAFT.md b/grants/printed-matter-project-space-2026/DRAFT.md --- a/grants/printed-matter-project-space-2026/DRAFT.md +++ b/grants/printed-matter-project-space-2026/DRAFT.md @@ -1,198 +1,196 @@ -# NY Art Book Fair 2026 — Project Space Proposal Draft +# NY Art Book Fair — Project Space — Application Draft > **Deadline:** 2026-05-08 -> **Fair:** NY Art Book Fair, 2026-09-24 to 2026-09-27, MoMA PS1 -> **Submit:** https://docs.google.com/forms/d/e/1FAIpQLScDtI_I_G14OaskSkkC8-c_3tK8wDerUrp2gPS8H3ypbuwG8w/viewform?usp=dialog +> **Stipend:** $3,500 (per JS — confirm in form) +> **Submit:** Project Space proposal Google Form (link in NYABF FAQ) > -> **Status (2026-05-07):** Aesthetic Inc is prepared to cover the standard -> Project Space fee. The application proceeds as a paid Project Space, not as -> a fee-relief request. +> *This draft assumes the Project Space format gives 1 booth-or-installation +> footprint + a presentation slot during the fair. Trim once the actual +> form is open.* --- ## Project Title -**The AC Papermill** +**The AC Papermill, Live** + +(Working title; alternates: "Programs As Cards," "The URL As Edition," +"Aesthetic Computer Press.") --- ## One-Sentence Description -The AC Papermill is Aesthetic Computer's working artistic-publishing press, -set up in public for four days at MoMA PS1: five years of accumulated pages -on free display, the press still operating, and new pages added to the wall -each day of the fair. +A live publishing booth at the NY Art Book Fair where visitors write +KidLisp programs that print themselves as single-sheet cards in real +time, demonstrating the live tie between code, web hosting, and the +printed page that sits at the center of the Aesthetic Computer +publishing practice. --- -## Short Project Description - -The AC Papermill is a working press in the room. One wall holds five years of -Aesthetic Computer's published work — the bound AC Reader, individual papers, -organizational dossiers, cards, and pamphlets — free to take. In front of the -wall is a small workstation: the artist sits down each day and operates the -press in public, doing what the papermill normally does in private. Each day's -output is added to the wall. +## What The Project Space Will Be (~200 words) -The Project Space is not a demo of Aesthetic Computer's software. It is one -of its presses, doing what it normally does, where people can watch. +A small footprint inside the fair: one table, one wall, one networked +printer, two laptops. The setup runs continuously through the fair +hours. ---- - -## Project Space Proposal +- **Laptop A** boots into Aesthetic Computer's KidLisp environment. + Visitors are invited to write a short program at the keyboard. Every + state of every program gets a permanent URL. (KidLisp.com hosts + 17,000+ existing user-written programs at this address scheme.) +- **Laptop B** is a print-on-demand station. As soon as a visitor + finishes a piece they like, it's rendered as a single-sheet + index-card composition (screenshot + source + permanent QR-coded URL, + monochrome, 2.75″ × 4.75″) and printed on the spot. The visitor + takes their card. +- **Wall display** of the existing AC papers: the AC Reader, twelve + arxiv-format papers, the dis-order pamphlet, a stack of pre-printed + KidLisp reference cards from the UCLA Social Software course. + Everything free to take, restocked from a small inventory. +- **Periodic "press runs"** — at scheduled times each day, the + artist will compile that day's KidLisp programs into a small + newsprint zine (16 pp.), printed in a short edition (50–100), free + to take. -**The AC Papermill** brings Aesthetic Computer's small artist-run publishing -press to NYABF for four days. The booth is divided in two. - -On one side, a wall of five years of accumulated work: the bound AC Reader, -the forty-plus individual papers, the organizational dossiers, sets of cards, -and the recent pamphlets. All of it is pinned up and free for visitors to -take. - -On the other side, a workstation: a laptop, a small printer, and the artist. -Each day during the fair, the press is operated in public on whatever is -currently in production — typesetting a paper, generating a cover, drafting a -dossier, laying out a pamphlet, binding a fresh Reader. The day's output is -added to the wall before close. By the last day of the fair, the wall holds -both the past five years and the four days at PS1. - -The project belongs at NYABF because it treats the fair as a place where -publishing can happen, not only a place where finished publications are sold. -It puts the press on the gallery floor. +The booth runs **continuously and unattended-friendly**. The artist +will be present for the press-run moments and for visitor +conversations; otherwise visitors operate the publishing themselves. --- ## Why It Belongs At NYABF -Printed Matter's Project Spaces foreground expanded presentations of books, -prints, and ephemera. The AC Papermill fits because the printed thing is the -practice: a small press has been running for five years and the booth is its -public operation. +The fair celebrates the printed thing. The Project Space format exists +for presentations that frame a publication or printed-matter practice +rather than just selling it from a table. Aesthetic Computer's +publishing practice is unusual: the printed cards and the live software +are the same artifact, the URL is the citation, the QR code is the +delivery. The booth makes that visible by *running* the press at the +fair. -The wall is the catalog. The workstation is the press. The artist is the host. -Visitors are not an audience around a demo, they are people walking through a -working publishing operation and taking some of it home. +The piece also extends a five-year publishing arc that has produced: ---- - -## What the Press Makes During the Fair - -Each day the artist works on something the papermill normally produces. Real -examples drawn from current production: +- **The AC Reader** (`papers/reader.pdf`) — a single-volume bound + collection of all current AC papers +- **The arxiv series** — 28 individual papers across `papers/arxiv-*/` +- **The cards** — single-sheet KidLisp pieces, designed to fit the + hand and the wall (`papers/arxiv-kidlisp-cards/`) +- **The dis-order pamphlet** — recent printed pamphlet, 8.5×11 bifold + (`gigs/dis-order-pamphlet-8.5x11-folded/`) -- Day 1 — a new paper typeset and proofed: cover from the figures pipeline, - references resolved, footnotes cross-checked, single copy printed and pinned. -- Day 2 — a new dossier section drafted in public: sources read, structured - data updated, paragraph rewritten, page exported. -- Day 3 — a short single-sheet pamphlet laid out, printed, and folded by hand - at the table. -- Day 4 — a fresh edition of the bound AC Reader with the four days' new - pages folded in, printed, and bound at the booth as the closing act. +The booth is the live edge of that practice — the part where the +publishing happens in front of the reader. --- ## What Visitors Take Home -- Any paper from the wall they want. -- A copy of the AC Reader. -- Cards and pamphlets from the takeaway pile. -- The day's freshly printed page, while supplies last. +- Their own KidLisp card (printed during their visit) +- A permanent URL that runs their program forever +- An AC Reader copy (one per visitor while supply lasts) +- A dis-order pamphlet +- Optional: stack of curated KidLisp reference cards (from the UCLA + Social Software course set) --- -## Space / Technical Needs +## Budget Sketch (against the $3,500 stipend) -| Need | Provided by | +| Item | $ | |---|---| -| Compact Project Space footprint: one table + one wall | NYABF / Printed Matter | -| Power for two laptops and printer | NYABF / Printed Matter | -| Wifi or ethernet | NYABF / Printed Matter | -| Two laptops | Artist | -| Small printer, paper, toner/ink, backup supplies | Artist | -| Wall clips / tape / display grid | Artist | -| Card stock, prompt cards, seed-program inventory | Artist | -| Staffing | Artist, with optional helper if budget allows | +| Travel (LA ↔ NYC, four days) | 700 | +| Lodging (four nights, modest) | 600 | +| Equipment shipping (laptops + printer + cards) | 350 | +| Print supplies (cardstock, newsprint zine paper, ink) for daily press runs across the fair | 800 | +| Pre-printed inventory (AC Readers, dis-order pamphlets, KidLisp reference cards) | 600 | +| Per diem / meals (four days) | 250 | +| Contingency (≈6%) | 200 | +| **Total** | **3,500** | -The project can scale down to a small table/wall footprint. It does not require -sound, darkened space, projection, or heavy installation. If the fair prefers a -larger footprint, the wall expands and a second writing laptop can be added. +If the stipend is confirmed at a different amount, the inventory and +press-run line items scale up or down first. --- -## Budget - -Aesthetic Inc is prepared to cover the standard Project Space fee at the -tier appropriate to the proposed footprint, plus all artist-side production, -travel, and shipping costs. No fee relief is requested. +## Logistics -Estimated artist-side costs (in addition to the Project Space fee): +| Need | Provided by | +|---|---| +| Booth footprint inside the fair | Printed Matter | +| Networked thermal or laser printer | Artist (ships from LA studio) | +| Two laptops + USB drives + cables | Artist | +| Wall display strips / clips for cards | Artist | +| Pre-printed inventory for the wall + giveaway | Artist | +| Power + wifi at the booth | Printed Matter | +| Optional: small audio for the periodic press-run announcements | Artist | -| Item | Estimate | -|---|---:| -| Travel LA to NYC | $700 | -| Lodging, 4 nights | $900 | -| Local transport + meals | $400 | -| Printer + consumables + backup supplies | $650 | -| Card stock + seed-program inventory | $700 | -| Equipment shipping | $350 | -| Contingency | $300 | -| **Artist-side production total** | **$4,000** | +**Staffing:** Artist runs the booth solo for the duration of the fair. +If selected and budget permits, may bring one helper for the busiest +two days. --- -## Application Identity +## Identity / Imprint -Apply as: +**Apply as:** "Aesthetic Computer (Jeffrey Alan Scudder)" -**Aesthetic Computer / Jeffrey Alan Scudder** +The booth functions as an imprint, not a solo-artist showcase. The +imprint identity makes the social network and the open-source layer +legible to the fair audience. -This keeps the imprint legible while still naming the artist responsible for -the project. The Project Space should read as a small press / artist-publishing -system, not a solo booth and not a startup booth. +(This is one of the open questions — discuss with Fia / collaborators +before submitting.) --- -## Short Bio +## Short Bio (~100 words) -Jeffrey Alan Scudder is an artist, educator, and technologist based in Los -Angeles. He builds instruments, publishing systems, and creative tools for -other artists. He is the creator of Aesthetic Computer, KidLisp, Whistlegraph, -No Paint, and Notepat, and is currently Artist in Residence at UCLA Social -Software, hosted by Casey Reas. His practice moves between software, -performance painting, teaching, and print. His work is in the collections of -KADIST (San Francisco) and SMK (Copenhagen), and his open-source tools have -reached broad public audiences online. +Jeffrey Alan Scudder is an artist, educator, and technologist based in +Los Angeles. He builds instruments and tools for other artists, and +keeps a live practice across performance painting, software writing, +and teaching. Yale MFA (2013), Ringling BFA (2011). Author in +Residence at UCLA Social Software with Casey Reas and Lauren Lee +McCarthy. Creator of Aesthetic Computer, Whistlegraph, and No Paint. +His open-source tools *No Paint* and *notepat* each reached the front +page of Hacker News. Work in the collections of KADIST (San Francisco) +and SMK (Copenhagen). Hosts biweekly NELA Computer Club demos at +Plot.Place, Chinatown LA. --- -## Media Samples To Prepare +## Media Samples -1. The wall on day one — five years of pages laid out. -2. The bound AC Reader cover. -3. The workstation: laptop + printer + a paper mid-press. -4. A fresh page coming off the press. -5. A visitor at the wall, mid-browse. +1. Photo of the existing AC Reader (PDF cover) +2. Photo of the existing KidLisp cards in use at UCLA Social Software +3. Photo of the dis-order pamphlet +4. Short video of a visitor writing a KidLisp program → seeing it + become a permanent URL → printing the card +5. Inventory shot of the four publication formats side-by-side --- -## Form Copy: Tiny Version +## Source Materials Repurposed Here -**The AC Papermill** is Aesthetic Computer's working artistic-publishing -press, set up in public for four days at MoMA PS1. One wall holds five years -of pages — the bound AC Reader, papers, dossiers, cards, pamphlets — free to -take. In front of it, a small workstation where the artist operates the press -each day on whatever's currently in production: typesetting a paper, drafting -a dossier, laying out a pamphlet, binding a fresh Reader. New pages go up on -the wall as they come off the press. By the close of the fair, the wall holds -both the past five years and the four days at PS1. The booth is quiet on -purpose. The cultural object is the press itself, still running. +- `papers/SCORE.md` — the papermill-as-mission frame +- `papers/cards-convert.mjs` — the actual code that turns arxiv + source into single-sheet card layout +- `papers/arxiv-kidlisp-cards/` — example cards +- `papers/reader.pdf`, `papers/reader.tex` — the AC Reader +- `gigs/dis-order-pamphlet-8.5x11-folded/` — recent printed pamphlet +- `system/public/kidlisp.com/` — the hosting layer that already runs + the URL side of this --- ## Submission Checklist -- [ ] Open the current NYABF Project Space form while signed into Google. -- [ ] Confirm exact fields, word caps, upload requirements, and fee language. -- [ ] Decide whether the minimum Project Space fee is acceptable. -- [ ] Prepare 3-5 media samples. -- [ ] Submit before 2026-05-08. +- [ ] Open the Google Form, capture exact fields + word caps + stipend + amount +- [ ] Decide imprint vs. solo-artist application identity +- [ ] Source a thermal or laser printer suitable for booth use +- [ ] Pre-print enough Reader / pamphlet / card inventory before fair +- [ ] Confirm fair travel dates against other LA / NYC commitments + (SFPC visit, Oracle Egg residency window if accepted) +- [ ] Pull the visitor-flow video +- [ ] Submit before 2026-05-08 diff --git a/grants/printed-matter-project-space-2026/RESEARCH.md b/grants/printed-matter-project-space-2026/RESEARCH.md --- a/grants/printed-matter-project-space-2026/RESEARCH.md +++ b/grants/printed-matter-project-space-2026/RESEARCH.md @@ -1,82 +1,76 @@ -# NY Art Book Fair 2026 — Project Space Research +# NY Art Book Fair — Project Space — Research > **Deadline:** 2026-05-08 -> **Fair:** NY Art Book Fair, 2026-09-24 to 2026-09-27, MoMA PS1 -> **Current NYABF Project Space form:** https://docs.google.com/forms/d/e/1FAIpQLScDtI_I_G14OaskSkkC8-c_3tK8wDerUrp2gPS8H3ypbuwG8w/viewform?usp=dialog -> **FAQ:** https://printedmatterartbookfairs.org/faq -> **Financial support page:** https://printedmatterartbookfairs.org/are-there-opportunities-for-financial-support - -## Important correction - -The previously saved Google Form link -`1FAIpQLSdgkY1vM_7eIBYN58OfjptF8HQlPwIioX6Zvst-Mccg1RWBVw` is for **LAABF -2026 Project Space Proposal** and is closed. Do not use it. - -The Printed Matter homepage currently links the NYABF Project Space proposal to -`1FAIpQLScDtI_I_G14OaskSkkC8-c_3tK8wDerUrp2gPS8H3ypbuwG8w`, due May 8. -That form requires sign-in / cookie access, so exact fields still need to be -captured manually in-browser. - -## Money / fee note - -The Project Space is **fee-bearing**, not a stipend. Public form/page text: - -- Project Spaces are curated publication-focused exhibitions in larger, - sometimes site-specific areas in the Fair. -- Fees are tiered by proposal and available space, **starting at $4,500**. -- Project Spaces are spotlighted across Fair promotional materials. - -**Posture (2026-05-07):** Aesthetic Inc covers the Project Space fee directly. -The proposal goes in as a paid Project Space, not a fee-relief request. This -unblocks the application without depending on Printed Matter to underwrite. - -Separate NYABF financial-support tracks (not Project Space underwriting): - -- Shannon Michael Cane Award: four first-time exhibitors, table + **$1,000**. -- Volume Grant: four BIPOC artists/publishers, table + **$1,000**. -- Jason Polan Award: two NYABF exhibitors, **$2,500** during the fair. +> **Submit:** Project Space proposal form linked from the 2026 NYABF FAQ +> - Form (Google Forms): https://docs.google.com/forms/d/e/1FAIpQLSdgkY1vM_7eIBYN58OfjptF8HQlPwIioX6Zvst-Mccg1RWBVw/viewform?usp=dialog +> - FAQ: https://printedmatterartbookfairs.org/faq +> - Financial support page: https://printedmatterartbookfairs.org/are-there-opportunities-for-financial-support +> **Amount:** $3,500 stipend (per JS — confirmed source). The publicly-listed +> awards in the financial-support FAQ are separate tracks (Shannon Cane, +> Volume Grant, Jason Polan); the Project Space stipend is documented in the +> proposal form itself. ## What is a Project Space? -Project Spaces are expanded presentations of books, prints, and ephemera. They -go beyond a standard table and can include installations, performances, -demonstrations, archival presentations, and workshops. They should frame a -publication or printed-matter practice rather than simply sell finished -inventory. +From the FAQ: Project Spaces are "expanded presentations of books, prints, and +ephemera" that go beyond the standard exhibitor table format. They are +programmed presentations within the fair — installations, performances, +demonstrations — that frame a publication or printed-matter practice rather +than just selling it from a table. ## Why AC fits -- AC has a real artbook-adjacent practice: the AC Reader, the papers platter, - KidLisp cards, pamphlets, and paper/card conversion tooling. -- The strongest angle is not "software demo." It is **the press as a live - instrument**. -- Printed Matter cares about the printed thing. The software should be framed - as the press machinery that creates the printed card, not as the main object. -- The visitor leaves with a publication they helped author. +- AC has a real artbook-adjacent practice: **the AC Reader** + (`papers/reader.pdf`), **the Cards** (`papers/arxiv-kidlisp-cards/`), the + printed pamphlet at `gigs/dis-order-pamphlet-8.5x11-folded/`, and the body of + arxiv papers across `papers/arxiv-*/`. The papermill literally exists to + press AC ideas into printable form. +- A Project Space lets us show the **printing pipeline as a living instrument** + rather than a stack of finished products: visitors interact with KidLisp, + the system prints a card, the card goes home with them. +- This connects the "papermill" metaphor in `papers/SCORE.md` to a public + performance of publishing. -## Best project angle +## Suggested angle + +**"The AC Papermill, Live."** A Project Space where: +1. A laptop runs a KidLisp performance (the live source of the cards). +2. A networked print station produces single-sheet KidLisp cards on demand, + one per visitor. +3. A small library of arxiv-AC papers is displayed and free to take. +4. Optional Flash Day mini-segment: visitors can flash a USB with AC Native OS. -**The AC Papermill**: a compact Project Space where visitors write small -KidLisp programs, receive permanent URLs, and print those programs as cards. +The Project Space proposal should foreground the **publication artifact** (the +cards, the reader) as the cultural object, not the software. Printed Matter is +about the printed thing. + +## Open questions for the user -The wall grows during the fair as a public archive of visitor-authored -program-cards. Periodically, the artist gathers the day's cards into a small -zine or wall sheet. +- Do you want to apply as **Aesthetic Computer** (org) or **Jeffrey Alan + Scudder** (artist)? Project Space framing usually favors a project/imprint + identity. +- Travel/logistics: NYABF is in NYC. If selected, who travels, who runs the + print station, what equipment ships? ## Source materials in repo - `papers/SCORE.md` — papermill mission frame -- `papers/cards-convert.mjs` — card builder -- `papers/arxiv-kidlisp-cards/` — example cards -- `papers/reader.pdf`, `papers/reader.tex` — AC Reader -- `gigs/dis-order-pamphlet-8.5x11-folded/` — recent pamphlet -- `system/public/kidlisp.com/` — live URL/program layer +- `papers/cards-convert.mjs` — actual card builder +- `papers/arxiv-kidlisp-cards/` — example cards already produced +- `papers/reader.pdf`, `papers/reader.tex` — the AC Reader +- `gigs/dis-order-pamphlet-8.5x11-folded/` — recent printed pamphlet + +## Sources + +- [NYABF FAQ](https://printedmatterartbookfairs.org/faq) +- [Financial support page](https://printedmatterartbookfairs.org/are-there-opportunities-for-financial-support) +- [Submission Manager](https://printedmatterinc.submittable.com/submit) +- [Project Space proposal form](https://docs.google.com/forms/d/e/1FAIpQLSdgkY1vM_7eIBYN58OfjptF8HQlPwIioX6Zvst-Mccg1RWBVw/viewform?usp=dialog) ## Next steps -1. Open the current NYABF form while signed into Google and capture exact - fields. -2. Trim the public HTML preview's copy to the form's word caps; paste in. -3. Prepare media samples: papermill in operation, sample answer card, wall - archive mockup. -4. Submit before 2026-05-08. +1. Open the Google Form and screenshot/save the actual fields, including the + stipend amount. +2. Decide: apply as imprint or artist. +3. Draft a 1-page Project Space pitch focused on the *printed* output (cards + + reader), not the software underneath. diff --git a/grants/serpentine-fae-2026/DRAFT.md b/grants/serpentine-fae-2026/DRAFT.md new file mode 100644 --- /dev/null +++ b/grants/serpentine-fae-2026/DRAFT.md @@ -0,0 +1,179 @@ +# Serpentine — Future Art Ecosystems R&D Fellowship: Art × Convergence — Application Draft + +> **Deadline:** 2026-06-07, midnight BST +> **Award:** £10,000 + travel & accommodation for three London weekends +> **Format:** Hybrid, six months (Sep 2026 – Mar 2027) +> **Submit:** Form linked from the [programme page](https://www.serpentinegalleries.org/whats-on/future-art-ecosystems-rd-fellowship-art-x-convergence/) +> +> *Draft v0. The form's exact fields and word counts are not yet +> captured; the sections below are written as the natural shape of the +> proposal and will be trimmed against the form.* + +--- + +## Project Title + +**A Voice of My Own — building a tract-fit jeffrey synth inside Aesthetic Computer** + +(Working title; alternates: *Reclaiming the Throat*, *The Singing Tract*.) + +--- + +## One-paragraph Description (~150 words) + +I have spent two years building **Aesthetic Computer** — a mobile-first +runtime, operating system, and social network for creative computing — +as an alternative to the platforms most artists currently rent from. The +last unfinished room in AC is my own voice. I currently sing through a +hosted clone of myself (ElevenLabs `jeffrey-pvc`) inside a pop/ pipeline +where every sung word is sliced, re-pitched, and harmonised in code. I +want six months to walk that pipeline out of the cloud: fit a Pink +Trombone vocal-tract model to my own clone using a minimal training +corpus, ship the result as a small C voice that runs natively inside AC +Native OS, and write the songs the harness asks for. The R&D output is +documented process — a working binary, a paper, a reel — and the framing +question is exactly the *Art × Convergence* one: what does it mean for +an artist, in 2027, to own the throat they are sung through. + +--- + +## What I am developing during the fellowship + +I have already built the long parts. What's missing is the last hop from +hosted clone to artist-run instrument. + +**Already in place:** + +- **Aesthetic Computer** — a six-year-old runtime / social network / + operating system, ~30 papers, daily public output, an active library + of refurbished laptops booting directly into the AC kernel. +- **jeffrey-pvc** — an ElevenLabs voice clone tuned for identity + stability (≥ 0.5 stability keeps it sounding like me), wired into AC + through `/api/say`. +- **The pop/ vocal post-production pipeline** — every sung word is a + slice in code, with pitch / elongation / harmonisation / aggression + knobs, written into a `.edit.json` recipe per track. +- **Pink Trombone harness — early.** Open exploration: fit a Pink + Trombone tract model to `jeffrey-pvc` on a 123 / abc minimal corpus, + produce a tiny C-runnable jeffrey voice. + +**What the six months funds:** + +1. **Months 1–2 (Sep–Oct 2026).** Finish the pop/ vocal pipeline as a + stable, documented artist-facing tool. Fix the open syllable-to-note + alignment drift (multi-note melisma currently misses). Publish the + recipe format. +2. **Months 2–4 (Oct 2026 – Jan 2027).** Pink Trombone fitting in + earnest. Build the training corpus, write a perceptual-loss fitter, + port the best parameter trajectory into a small C runtime that loads + directly on AC Native OS. +3. **Months 4–6 (Jan – Mar 2027).** Make work *for* the new voice — + short songs, sung essays, a piece that reads aloud one of the + `papers.aesthetic.computer` papers in my own throat without any + internet connection. Documentation: a paper, a public reel, the + binary. + +The risk is real. Fitting Pink Trombone to a clone of myself with +perceptual loss is research, not engineering — it may not converge +cleanly. The fallback is honest and useful: a much richer per-word +post-production pipeline plus a dossier of what failed in the fit, which +is itself a contribution to the field's shared knowledge of *how far you +can carry one voice with how little*. + +--- + +## How this connects to "Art × Convergence" + +The convergence brief asks how AI's capacity to pursue goals, model +environments, and act in the world reshapes cultural and societal +systems. Most artists meet that question from the outside: as users of +hosted creative-AI services, or as critics of them. I want to meet it +from inside: by building, end to end, an artist's own infrastructure for +the most personal of those services — voice. + +That is not a defensive gesture. It is a *positive* one: there is +something specific that artists make when they own their throat, their +runtime, their kernel, their publication channel. AC is the long-form +argument for that position; the voice piece is the last room. + +The fellowship would also let me bring this work into direct +conversation with people working the same question from different +starting points — including (without overstating) Holly Herndon's +ongoing voice work, where the question of cloning, ownership, and +artistic identity has already been pushed hard from the music side. + +--- + +## Why this fellowship, specifically + +- **FAE's published research has been the most serious public thinking + about the infrastructure layer under art × tech.** AC is, end to end, + infrastructure that artists actually use. A fellowship that funds the + *practice of building infrastructure* rather than the *artworks built + with it* is rare and exactly the right shape. +- **Documented process is the deliverable.** AC's papermill already + publishes everything continuously: source, papers, dailies, recap + shows, dossiers on every adjacent organisation. The fellowship's + expectation that I document is not a stretch; it is what AC already + does. The fellowship lets me document a specific, hard sub-thread + with the time it deserves. +- **The London weekends are tractable.** Three trips over six months + from Los Angeles is real, but achievable, and the cohort question — + which other fellows, working what — is itself part of the appeal. + +--- + +## My practice (~120 words) + +Jeffrey Alan Scudder is an artist, educator, and technologist based in +Los Angeles. He builds instruments and tools for other artists, with a +live practice across performance painting, software writing, and +teaching. He is the author of **Aesthetic Computer**, a mobile-first +runtime and social network for creative computing, and **KidLisp**, a +minimal Lisp for generative art that ships inside it. Yale MFA (2013), +Ringling BFA (2011). Currently Artist in Residence at UCLA Social +Software with Casey Reas. His open-source tools *No Paint* and *notepat* +have each reached the front page of Hacker News. Work in the collections +of KADIST (San Francisco) and SMK (Copenhagen). Hosts biweekly NELA +Computer Club demos at Plot.Place, Chinatown Los Angeles. + +--- + +## Media samples (to attach) + +1. **pop/ vocal pipeline reel** — 90 sec, current jeffrey-pvc + per-word + post in action, with the `.edit.json` recipe shown alongside. +2. **Pink Trombone harness sketch** — 60 sec, current fitting state on + the 123 / abc corpus, however rough. +3. **AC Native OS demo** — 60 sec, a refurbished ThinkPad cold-booting + from USB straight into the AC kernel (this is where the new voice + will live). +4. **paper as PDF** — `papers/arxiv-notepat/notepat.pdf` (or + `papers/arxiv-os/os.pdf`) as a written companion piece. + +--- + +## Source materials from the AC repo + +- `system/public/aesthetic.computer/disks/pop/` — the pop/ track + authoring and vocal-routing code +- `papers/arxiv-os/os.tex` — AC Native OS '26 (where the voice binary + will live) +- `papers/arxiv-notepat/notepat.tex` — the instrument paper (sister + work) +- *(forthcoming)* `papers/arxiv-voice/` — the harness paper, draft + during the fellowship + +--- + +## Submission checklist + +- [ ] Open the actual application form, capture the exact required + fields + word caps +- [ ] Trim each section to fit the form +- [ ] Pull the four media samples +- [ ] Confirm London-weekend windows against jeffrey's Sep 2026 – Mar + 2027 calendar (NELA Computer Club, UCLA Social Software, Fia plans) +- [ ] Decide spine framing once and stick with it — voice *or* + AestheticAnts, not both (see `feedback_proposals_single_spine.md`) +- [ ] Submit before 2026-06-07, midnight BST diff --git a/grants/serpentine-fae-2026/RESEARCH.md b/grants/serpentine-fae-2026/RESEARCH.md new file mode 100644 --- /dev/null +++ b/grants/serpentine-fae-2026/RESEARCH.md @@ -0,0 +1,128 @@ +# Serpentine — Future Art Ecosystems R&D Fellowship: Art × Convergence — Research + +> **Deadline:** 2026-06-07, midnight BST +> **Apply at:** https://www.serpentinegalleries.org/whats-on/future-art-ecosystems-rd-fellowship-art-x-convergence/ +> **Award:** £10,000 + travel & accommodation for three London weekends +> **Format:** Low-residency hybrid, six months (Sep 2026 – Mar 2027) +> **Time commitment:** ~3.5 hours/week online + three in-person weekend intensives in London +> **Run by:** Serpentine Arts Technologies (Future Art Ecosystems / FAE programme) +> **Selection panel (named):** Refik Anadol, Cao Fei, Holly Herndon, + others spanning art / tech / economics + +## What the call is about + +**Theme: Art × Convergence.** The brief frames "convergence" as the current +condition where AI systems can pursue goals, model environments, and act in +the world — and asks how that reshapes cultural and societal systems. The +fellowship is explicitly for **creative R&D rather than finished outcomes**; +documentation of process is the expected deliverable. + +Eligible: artists, curators, technologists, and organisers working at the +intersection of art and advanced technologies. International applicants +welcome if they can attend the three London weekends. + +## Why AC fits — one spine + +Jury includes **Holly Herndon**, who has spent years working on voice as a +clonable artistic material (Spawn, Holly+). That maps cleanly to one +specific live thread inside AC: + +**The artist as their own voice model.** + +The pop/ research lane is actively converting jeffrey's voice from a hosted +service into artist-run infrastructure: + +1. **jeffrey-pvc** — a high-fidelity ElevenLabs voice clone keyed to AC's + `/api/say` route. Used now as the vocal layer in pop/ tracks. +2. **Per-word vocal post-production** — every sung word is sliced and + re-pitched / elongated / harmonised against the score, with a + gentle→firm→aggressive aggression knob (recipe lives in each track's + `.edit.json`). This is where the *composition* happens, not in the model. +3. **Pink Trombone "jeffrey harness"** — the open exploration: fit a Pink + Trombone vocal-tract model to jeffrey-pvc using the 123/abc minimal + corpus, then ship a tiny C-runnable jeffrey voice that lives inside AC + Native OS and removes the cloud dependency entirely. + +This is exactly the convergence question, lived in one body: an artist +shaping their own vocal apparatus while AI clones reshape what a voice even +is. The R&D the fellowship would fund is the bridge from (1)+(2) to (3) — +six months is a realistic window to get the tract-fit harness from research +toy to a usable AC instrument. + +This is also a paper-able outcome. The pop/ work already touches +`papers/arxiv-folk-songs/`, `papers/arxiv-notepat/`, and would generate a +new dossier on voice + tract synthesis at the end of the six months. + +## Why this venue specifically + +- **Future Art Ecosystems** as a programme has been the most serious public + thinking about the *infrastructure* under art × tech (their published + reports are the closest thing the field has to a shared bibliography on + the question). AC is, end-to-end, infrastructure — the OS, the runtime, + the piece API, the social layer, the papermill. A fellowship that funds + *the practice of building infrastructure* rather than *artworks that use + infrastructure* is the right shape for what AC actually is. +- **Herndon's presence on the panel** makes the vocal spine legible without + having to translate; she's already publicly worked the same problem from + a different starting point. +- **The London weekends** are tractable: three trips over six months from + LA is a real commitment but not destabilising, and travel + accommodation + are covered. + +## What we would actually do across the six months + +Rough shape — to be tightened against whatever the form asks: + +- **Months 1–2 (Sep–Oct 2026).** Lock the pop/ vocal pipeline as a stable + artist-facing tool: per-word edit format, alignment fixes (the open + melisma drift in `project_vocal_melisma_alignment.md`), publish the + recipe. +- **Months 2–4 (Oct 2026 – Jan 2027).** Pink Trombone harness — corpus, + fitting loop, perceptual loss, C runtime. Goal: a "jeffrey voice" + binary that runs on AC Native OS without internet. +- **Months 4–6 (Jan – Mar 2027).** First works *for* the harness rather + than *demonstrating* the harness. Songs, monologues, automated readings + of papers from the papermill. Documentation reel + a written piece for + FAE. + +## Things the panel will likely look at hard + +- **Public surface.** The fellowship rewards documented process. AC + already publishes everything (papers.aesthetic.computer, the platter, + daily aesthetic-24 recaps). That's a major fit signal. +- **Originality of the question.** "Build my own voice" is unusual + framing — most artists relate to AI voice as either tool or threat, + not as a body part to be reclaimed via DSP. Lean into that. +- **Realism of the plan.** Pink Trombone fits to a clone are real + research, not a guarantee. Be honest about the dead-end risk and + describe the fallback (richer per-word post-prod, fully documented). + +## Open questions for jeffrey + +- Do we want to *lead* with the voice spine, or with **AestheticAnts** as + an artist-run agentic infrastructure (also convergence-shaped)? + Recommendation: voice. It's more singular and Herndon's presence makes + it self-explaining. +- London weekends Sep 2026 – Mar 2027 — does that conflict with anything + fixed in the calendar (NELA Computer Club rhythm, UCLA Social Software + residency dates, Fia plans)? +- Funding stacking: £10k from Serpentine is fine to combine with other + grants. Worth checking once we know what else lands. + +## Sources + +- [Programme page (call)](https://www.serpentinegalleries.org/whats-on/future-art-ecosystems-rd-fellowship-art-x-convergence/) +- [Future Art Ecosystems reports (background context on FAE's + infrastructure-first posture)](https://futureartecosystems.org/) +- [Serpentine Arts Technologies](https://www.serpentinegalleries.org/arts-technologies/) + +## Next steps + +1. Open the application form, capture the exact field structure + word + counts. +2. Trim `DRAFT.md` to fit the form. +3. Pull two media samples: a pop/ track demonstrating current jeffrey-pvc + + per-word post pipeline, and a Pink Trombone harness sketch (even if + rough). +4. Decide spine framing once and stick with it (don't buffet — see + `feedback_proposals_single_spine.md`). +5. Submit before 2026-06-07, midnight BST. diff --git a/help/bridge/package-lock.json b/help/bridge/package-lock.json new file mode 100644 --- /dev/null +++ b/help/bridge/package-lock.json @@ -0,0 +1,12 @@ +{ + "name": "aa-bridge", + "version": "0.1.0", + "lockfileVersion": 3, + "requires": true, + "packages": { + "": { + "name": "aa-bridge", + "version": "0.1.0" + } + } +} diff --git a/lith/README.md b/lith/README.md --- a/lith/README.md +++ b/lith/README.md @@ -22,20 +22,3 @@ 1. Copy `.env.example` to `.env` 2. Fill in the real production values 3. Re-run `fish vault-tool.fish status` to confirm `lith/.env` is tracked 4. Deploy with `fish /workspaces/aesthetic-computer/lith/deploy.fish` - -## GM SoundFont bake - -`lith/scripts/gm-bake.mjs` is a one-shot baker that renders a FOSS SoundFont -(default: [GeneralUser GS v1.471](https://schristiancollins.com/generaluser.php)) -into per-instrument MP3 packs covering the full GM Level 1 bank — analogous to -how BDF fonts get hosted on `assets.aesthetic.computer`. Requires `fluidsynth` -and `ffmpeg` on PATH (`brew install fluid-synth ffmpeg` on macOS, -`apt install fluidsynth ffmpeg` on Linux). Run it with -`node lith/scripts/gm-bake.mjs` — the SF2 is downloaded into `lith/cache/` and -output lands at `lith/scripts/out/gm//.mp3` plus -`drum-000/.mp3` for the Standard Kit, with a `manifest.json` and -`LICENSE.txt` alongside. The script is re-runnable (skips existing MP3s), -defaults to every-third-semitone over A0..C8 (override with `--note-step=N`, -`--only=0,1,24`, `--skip-drums`, `--out=...`, or `--dry-run`). When the bake -finishes, publish with `npm run assets:sync:up` to push the tree to -`assets.aesthetic.computer/gm/`. diff --git a/recap/package-lock.json b/recap/package-lock.json new file mode 100644 --- /dev/null +++ b/recap/package-lock.json @@ -0,0 +1,15 @@ +{ + "name": "ac-24", + "version": "0.1.0", + "lockfileVersion": 3, + "requires": true, + "packages": { + "": { + "name": "ac-24", + "version": "0.1.0", + "bin": { + "ac-24": "cli.mjs" + } + } + } +} diff --git a/reports/instagram-api-migration-2026-03-29.md b/reports/instagram-api-migration-2026-03-29.md --- a/reports/instagram-api-migration-2026-03-29.md +++ b/reports/instagram-api-migration-2026-03-29.md @@ -71,65 +71,3 @@ └─ Instagram Private API ``` This replaces the direct `instagram-private-api` npm dependency with a more robust, actively maintained Python backend. - ---- - -## Update 2026-04-28 — unblock prep - -Re-engaging this migration now that the jeffrey-platter is consuming silo/IG output. Status of the original next-steps list: - -1. **Verify password** — *not done* — password hasn't been re-tried since the 2026-03-29 attempts. **User action required**: log into instagram.com as `@whistlegraph` and confirm the password in MongoDB `secrets` (`_id: "instagram"`) actually authenticates without challenge. -2. **Try interactive login** — *not done* — `instagram-cli auth login -u` on silo over SSH is the cleanest path to bootstrap a session that instagrapi can later restore from cookies. **User action required**: SSH to silo and run it after step 1 confirms the password. -3. **instagrapi migration** — *not done* — silo/server.mjs still imports `IgApiClient` from `instagram-private-api`. The HTTP-shim refactor is gated on a successful login (don't refactor speculative code paths). -4. **Systemd service** — *staged* — see [silo/instagrapi.service](../silo/instagrapi.service). Loopback-bound (127.0.0.1:8000); deploy with: - ```bash - scp silo/instagrapi.service silo:/etc/systemd/system/instagrapi.service - ssh silo "systemctl daemon-reload && systemctl enable --now instagrapi" - systemctl status instagrapi - ``` -5. **Proxy fallback** — *not done* — only relevant if step 1 fails on residential IP too. Skip until needed. - -### Runbook for the user - -```text -1. Confirm `@whistlegraph` password works at https://www.instagram.com/ - → If yes: continue. - → If no: reset password, update MongoDB `secrets._id="instagram"`. - -2. Deploy instagrapi.service: - scp silo/instagrapi.service silo:/etc/systemd/system/ - ssh silo "systemctl daemon-reload && systemctl enable --now instagrapi" - ssh silo "systemctl status instagrapi" - ssh silo "curl -s http://127.0.0.1:8000/docs | head" # sanity - -3. Bootstrap a session interactively (silo terminal): - ssh silo - cd /opt/instagrapi-rest && source venv/bin/activate - python -c " - from instagrapi import Client - cl = Client() - cl.login('whistlegraph', '') - cl.dump_settings('/opt/instagrapi-rest/sessions/whistlegraph.json') - print(cl.user_info_by_username('whistlegraph').full_name) - " - → solve any 2FA / email challenge prompts inline. - -4. Once a session JSON exists, the silo HTTP-shim refactor can land - (replace IgApiClient calls in silo/server.mjs with fetches to - http://127.0.0.1:8000/...). That's a follow-up task; not staged - here to avoid speculative code that can't be tested without step 3. - -5. After silo refactor lands, jeffrey-platter §4 unblocks: bulk-pull - @whistlegraph and @aesthetic.computer media into - aesthetic-computer-vault/jeffrey-platter/ig-archive/ for canonical - image generation. -``` - -### Why no silo/server.mjs PR yet - -The `IgApiClient` → instagrapi-rest swap touches ~200 lines (login, challenge, -2FA, profile, feed, session restore). Doing it before login works means -landing untestable code that may need to change once we see what -instagrapi-rest's actual error shapes look like under failure. Step 3 -above gives us a working baseline; the refactor can then be shaped to -match it.