diff --git a/grants/SCORE.md b/grants/SCORE.md --- a/grants/SCORE.md +++ b/grants/SCORE.md @@ -6,6 +6,7 @@ ## Open / In Flight | Application | Deadline | Amount | Status | Folder | |---|---|---|---|---| +| **SSRC Just Tech Fellowship** | **2026-06-28 (23:59 EST)** | up to **$60,000 unrestricted** (1 yr, Jan–Dec 2027) | **DRAFT v0 ready** (2026-06-15) · spine = AC as a digital community commons + AC Native low-end creative OS / public device library. Personal statement (~560 words, room to grow) + full work proposal mapped to all 6 required sub-questions; `RESEARCH.md` has exact caps + fellow precedents (incl. p5.js's McCarthy). **Next: confirm portal fields, trim to caps (≤1,000 / ≤3,000 words), pick 2 work samples, refresh number ledger.** | `ssrc-just-tech-2026/` | | **transmediale Lattice Labs 2027** (Berlin residency) | **2026-06-07 (23:59 CEST)** | travel + Berlin-week lodging + production budget; FREE to apply (no personal stipend confirmed) | DRAFT v0 ready · pitched to "Reclaiming the Interface" lab (Olia Lialina). **Confirm if 2 letters required — 6-day window** | `transmediale-lattice-labs-2027/` | | **TOKAS Int'l Creator Residency 2027** (Tokyo, 3 mo) | **2026-06-16 (18:00 JST)** | airfare + housing + studio + ¥4,200/day + ¥300k fee (per-diem & fee taxed 20.42%) | DRAFT v0 ready · exact form fields pulled. **Need: 2 referee letters + pick period (①/②/③)** | `tokas-2027/` | | IDFA DocLab 2026 (festival selection) | 2026-06-16 (final tier) | exposure only (€45 entry / €25 student); no cash | DRAFT v0 · **borderline NO-GO** — enter only if a Whistlegraph perf was completed/first-shown after 2025-07-04 | `idfa-doclab-2026/` | @@ -33,7 +34,6 @@ in `personal/honeydo.md` for the source quotes. | Opportunity | Deadline | Amount | Fit / next | |---|---|---|---| -| SSRC Just Tech Fellowship | 2026-06-28 (23:59 EST) | up to $60,000 / yr | Tech-and-society creative practice — strong AC fit. Promote to `grants/ssrc-just-tech-2026/` + RESEARCH. Source: Fia link 2026-05-14. | | Pollock-Krasner Foundation | rolling | up to $50,000 | Visual artists w/ exhibition record + financial need; Jeffrey qualifies (KADIST/SMK). Could fund SF / PAX East travel. Source: Fia 2026-05-15 ("got it easily before"). | | Critical Playground (pitch) | unconfirmed | unknown | criticalplayground.org publication; Smarthistory-style pitch-first. Verify the call exists. Source: Fia 2026-04-15. | | CAC Individual Artist Fellowship — **Legacy** (via LAPP, LA County) | 2026-06-06 (23:59 PT) | $50,000 unrestricted | DRAFT v0 ready · 5 narrative answers (Legacy tier) + samples plan + letter-of-support plan + checklist in `cac-iaf-2026/DRAFT.md`. Local guideline PDF in `cac-iaf-2026/reference/`. Next: ask Casey Reas for the colleague letter (required, uploaded by him). | diff --git a/grants/ssrc-just-tech-2026/DRAFT.md b/grants/ssrc-just-tech-2026/DRAFT.md new file mode 100644 --- /dev/null +++ b/grants/ssrc-just-tech-2026/DRAFT.md @@ -0,0 +1,249 @@ +# SSRC Just Tech Fellowship 2027 — Application DRAFT v0 + +**Applicant:** Jeffrey Alan Scudder (Aesthetic Computer / Studio Zollo) · US-based +**Deadline:** 2026-06-28 23:59 EST · **Award:** up to $60,000 unrestricted, 1 yr +**Status:** v0 — written long, NOT yet trimmed to the word caps. See +`RESEARCH.md` for the exact component limits and the portal checklist. + +> **Spine (one line):** Aesthetic Computer is a digital community commons — +> a creative-computing operating system that reclaims the personal computer +> as something a public can own, build on, and belong to, running on the +> hardware the platform industry has thrown away. +> +> **Society-facing question:** Who owns the personal computer? When a handful +> of platforms decide what a computer is for — and an upgrade cycle strands +> hundreds of millions of working machines as e-waste — what would it take to +> re-found personal computing as a commons: owned in common, legible to its +> users, and hospitable to a culture rather than an audience? + +--- + +## A. Personal statement (cap: ≤1,000 words written, or ≤5-min video) + +I make software that tries to give the personal computer back to the people +using it. For three and a half years I have built and operated **Aesthetic +Computer**, a creative-computing platform and small online society that, as of +this writing, carries **2,907 registered handles**, **402 community-authored +pieces**, and a continuous public record of **20,109 commits** across roughly +twenty contributors. It is not a product with users. It is closer to a place +with residents — people who have a name there, a mood that becomes the site's +banner, a chat that follows them into any program, and the standing to publish +their own programs into shared address space. + +I came to this from teaching and from art. I have watched what happens to +creative people when the tools they depend on are rented rather than owned: +the work is hostage to a subscription, the data to a platform, the very +definition of "what this computer does" to a company whose incentives are not +theirs. I have also watched the inverse — what a person becomes when a computer +is finally legible to them, when they can read the whole instrument and change +it. Aesthetic Computer is my attempt to build that second condition at the +scale of a community, and to keep it honest by running the entire thing in the +open: self-hosted, source-readable, local-first, with no advertising and no +tracking infrastructure anywhere in its seventy-odd database collections. + +The technology-and-society stakes became concrete to me in the last year, when +Windows 10's end-of-life stranded an estimated **240 million** working x86_64 +laptops and the world generated roughly **62 million tonnes** of e-waste. These +are not abstractions; they are a planetary population of perfectly good +machines declared obsolete by a consumer OS. So I built one that doesn't +declare them obsolete. **AC Native** is a bare-metal creative operating system +that boots from a USB stick as the first process on the machine — no systemd, +no shell, no consumer userland — and has a creative environment running in +about seven seconds, with sound, graphics, input, and network. The per-seat +cost lands near fifty dollars. A salvaged ThinkPad becomes a full instrument +again. + +My practice has always insisted that everyone can be a programmer, and that the +barrier is design, not aptitude. So the language at the center of AC, +**KidLisp**, is deliberately tiny — 118 built-ins — and addressable: a few +lines of it earn a short `$code` that anyone can run, share by QR, or remix. +The house code-style guide I wrote for the project states the value plainly: "a +piece of this system should fit in one mind." That is an accessibility claim +and a governance claim at once. A commons can only be self-governed if its +members can actually read it. + +I am applying to Just Tech because the question I am working on is not a +technical one, it is a public one — *who gets to own and shape the computer* — +and because the program funds exactly the kind of practitioner I am: not a +researcher writing about technology from the outside, and not a technologist +chasing novelty, but someone building a working alternative and tending the +community that lives inside it. Lauren Lee McCarthy's p5.js work as a prior +fellow tells me this lane is real. The fellowship year would let me do the part +I cannot do alone: turn AC Native from a working prototype into a **public +device library** — a lending fleet of reflashed laptops, with Flash Days and +family workshops — so that "you can own your computer again" stops being an +argument and becomes something a person in a room can hold in their hands. + +What I would bring to the cohort is a builder's account of these questions: +concrete, shipped, measurable, and unromantic about its own limits. AC today +has a strong central steward — me — and a real but small core of contributors; +part of the honest work of this year is widening that, and a cohort of people +thinking hard about technology, equity, and the public is precisely the room I +want to do it in. + +*(~560 words — room to grow toward the 1,000 cap, or to cut for a video.)* + +--- + +## B. Work proposal (cap: ≤3,000 words written, or ≤10 slides) + +### B1. Central concept / research question + +The project is **Aesthetic Computer as a digital commons, and AC Native as the +public device library that lets a community own it.** The animating question: +*Can personal computing be re-founded as a commons — owned in common, legible +to its members, and run on hardware the market has discarded — and what does it +take to operate one in public?* The fellowship year turns the existing working +software into a **circulating public library of computers**: a lending fleet of +salvaged laptops flashed with AC Native, paired with Flash Days, family +workshops, and an open onboarding path into the existing online community. + +### B2. How the project engages technology substantively + +This is not a critique delivered from outside the machine; it is a working +counter-model built down to the kernel. Concretely, and verifiably in the +public repository: + +- **A bare-metal creative OS.** AC Native boots from USB via UEFI as PID 1 on + a custom Linux 6.14.2 kernel with an embedded initramfs — no systemd, no + shell, no consumer userland — and reaches a running creative piece in ~7.3 + seconds. Graphics via DRM/KMS, input via raw evdev, audio via ALSA at 192 + kHz with 32-voice polyphony, plus WiFi, camera, and on-device text-to-speech. + Each build embeds its own git hash and a spoken build name, so every machine + can tell you exactly what it is running. (`fedac/native/PROGRESS.md`, + `Makefile`.) +- **A full instrument on the metal.** A 3,870-line C synthesizer implements all + 128 General MIDI voices through physical modeling — digital waveguides for + strings and brass, modal synthesis for bells — so a fifty-dollar laptop is a + serious musical instrument, not a toy. (`fedac/native/src/gm_synth.c`.) +- **A commons of authorship.** Members publish `.mjs` and `.lisp` programs into + shared, URL-addressable space (`@handle/piece-name`); KidLisp snippets earn + short `$codes` cached for anyone to run or remix. (`store-piece.mjs`, + `store-kidlisp.mjs`.) +- **A real social fabric.** Durable, moderated, multi-channel chat that overlays + any program; a "moods" microblog where a member's status becomes the site's + message-of-the-day; hearts; a community news board with posts, comments, and + votes; and a two-tier presence signal ("here" vs "online"). (`chat-manager.mjs`, + `mood.mjs`, `chat.mjs`.) +- **Anti-extractive by construction.** Self-hosted on its own stack and its own + git server; local-first, with an encrypted on-device memory store and remote + sync off by default; a working "erase and forget me" endpoint; identity that + dual-writes to the open ATProto/Bluesky social web rather than a walled + garden. No ads, no trackers. + +### B3. Perspective, method, distinguishing approach + +My method is **build-and-operate in public.** I do not study a community from +the outside; I run one, and I publish the whole apparatus — code, voice, +governance, and finances — as I go. Three commitments distinguish the work: + +1. **Knowability as a civic property.** "A piece of this system should fit in + one mind." Software a public is meant to own must be software that public can + read. The small-language, small-pieces design is the political claim made + technical. +2. **Salvage as a stance.** Building forward on discarded hardware is both an + environmental position and an accessibility one — it drives the per-seat cost + to where a library, a school, or a family can actually reach it (~$50 raw, + ~$128/seat refurbished-and-flashed). +3. **A place, not a platform.** The design goal is belonging — a handle, a + mood, a published piece — not engagement metrics. The architecture has no + surface for surveillance because the goal was never attention. + +### B4. The fellowship year — scope and what advances + +A realistic one-year arc for the unrestricted award: + +- **Q1 — The Library, v1.** Build out a lending fleet of ~10–15 reflashed + ThinkPad laptops; harden the AC Native OTA/flash pipeline for non-expert + stewards; write the lending and care documentation. +- **Q2 — Flash Days.** Run public Flash Days and family workshops (LA first, + via existing partners) where people flash a salvaged laptop and leave able to + write their first KidLisp piece. Document accessibility outcomes honestly. +- **Q3 — Widening the commons.** Lower the contributor barrier: onboarding + docs, a "your first piece" path, and governance writing about how moderation, + handles, and publishing actually work — so stewardship can spread beyond one + person. +- **Q4 — Public account.** Publish a plain-language field report (the project + already runs a "papermill" that presses its own thinking into papers and + cards) on what it costs and what it takes to operate a computing commons, so + others can copy it. + +What "meaningfully advances this year": the device library goes from prototype +to a standing, lendable program; the online community gains a real on-ramp for +new authors and co-stewards; and the whole model is documented well enough to +be reproduced elsewhere. + +### B5. Anticipated challenges and mitigation + +- **Single-steward risk.** AC today has one dominant maintainer. *Mitigation:* + the year's explicit deliverable is widening contributorship and writing the + governance down; the cohort is the venue for pressure-testing it. +- **Hardware heterogeneity.** Salvaged laptops vary. *Mitigation:* standardize + on a small set of known-good models (ThinkPad 11e Yoga) for the fleet while + keeping the OS general; publish a compatibility list. +- **Sustainability beyond the grant.** *Mitigation:* the unrestricted award + funds the library build-out; ongoing costs are deliberately low by design + (self-hosted, salvage hardware), and the field report is aimed at making the + model portable rather than dependent on me. +- **Scale of community care.** Moderation and safety scale with people. + *Mitigation:* the moderation layer already exists (mutes, profanity + filtering); the year formalizes the social norms around it. + +### B6. Awareness of related work / field context + +The project sits among, and distinguishes itself from, several lineages: +laptop-orchestra and live-coding practice (PLOrk, TOPLAP/Sonic Pi) — but at +two orders of magnitude lower per-seat cost and as a standing community rather +than an ensemble; accessible creative-coding tools (Processing, **p5.js** — +whose creator is a prior Just Tech fellow) — but extended downward to the +operating system itself; the right-to-repair and e-waste movements — but +answering "what do you *do* with the salvaged machine" with a full creative +environment; and the small-internet / IndieWeb / ATProto commons — which AC +joins by dual-writing identity to the open social web rather than enclosing it. + +### B7. Public contribution and dissemination + +- **The device library + Flash Days** put the argument in public hands. +- **Open everything:** source, the `papers/` research platter, and the cards + are public and free; the field report is written to be copied. +- **The existing community** (2,907 handles, an active chat/moods/news commons) + is the standing audience and co-author, not a hypothetical one. +- **Cohort collaboration:** AC is a hospitable substrate for other fellows' + work — anyone can publish a piece into it — making the optional collaborative + seed funding a natural fit. + +*(Trim toward 3,000 words, or convert to a ≤10-slide deck for submission.)* + +--- + +## C. Two work samples (each needs a brief description) + +Pick two. Candidates, strongest first: + +1. **AC Native — bare-metal creative OS (demo video + repo).** A salvaged + laptop booting from USB into a full creative environment in ~7 seconds. + *Description angle:* the technology-and-society thesis made physical — owning + the computer down to PID 1, on hardware the market discarded. +2. **The community commons (chat + moods + a published `@handle/piece`).** A + short capture of the living social fabric: chat-over-any-piece, a mood + becoming the site banner, a member's published program at its own URL. + *Description angle:* a place, not a platform — belonging without surveillance. +3. **A KidLisp `$code` piece.** A few lines producing generative art, shareable + by QR. *Description angle:* accessibility as a civic property — the whole + instrument fits in one mind. + +## D. Résumé / CV (≤2pp) — assemble separately + +Pull from existing exhibition/teaching record (KADIST, SMK, CalArts) + the AC +operating record. Reuse the LACMA/Serpentine portfolio material in +`grants/lacma-2026/` and `grants/serpentine-fae-2026/portfolio/`. + +--- + +## Numbers ledger (refresh at submission) +- Years operating: ~3.5 (first commit 2022-12-23) · Commits: 20,109 · Contributors: ~20 +- Registered handles: **2,907** (live prod count API) +- Pieces: **383 `.mjs` + 19 `.lisp`** = 402 · KidLisp built-ins: **118** +- AC Native: boots PID 1 in ~7.3s · kernel 6.14.2 · ALSA 192 kHz / 32-voice · + `gm_synth.c` 3,870 lines / 128 GM voices · ~$50 raw, ~$128/seat refurbished +- Context: ~240M Win10-EOL laptops stranded · ~62M tonnes e-waste/yr diff --git a/grants/ssrc-just-tech-2026/RESEARCH.md b/grants/ssrc-just-tech-2026/RESEARCH.md new file mode 100644 --- /dev/null +++ b/grants/ssrc-just-tech-2026/RESEARCH.md @@ -0,0 +1,111 @@ +# SSRC Just Tech Fellowship — Research + +**Status:** drafting (promoted from `grants/SCORE.md` sourced list, 2026-06-15) +**Deadline:** 2026-06-28, 23:59 EST — single window for the 2027 cohort. +**Portal:** https://ssrc.secure-platform.com/a/solicitations/1171/home (opened 2026-04-27) +**Contact:** just-tech@ssrc.org · **Fellows notified:** November 2026. + +> Source sweep done 2026-06-15. Primary page: +> https://www.ssrc.org/programs/just-tech/just-tech-fellowship/ + +## What it is (2027 cycle — REDESIGNED) + +**Important structural change.** Earlier cohorts (2022, 2023–25, 2024–26) were +**two-year awards at $100,000/year**. The cycle we're applying to is a +**one-year, unrestricted award of up to $60,000** (Jan–Dec 2027), plus up to +~$5,000 seed funding for collaborative projects between fellows. The public +positioning is more sober now: "rigorous, original, and community-grounded." +Don't anchor to the old "$250K / radically different futures" language. + +## Eligibility (verbatim where it matters) + +- "Citizens of any country may apply. **Fellows must reside in the United + States for the duration of the fellowship year.**" (No visa sponsorship.) + → Jeffrey qualifies (US-based). Aesthetic Inc is irrelevant — **individuals + only, not organizations.** +- "There are **no formal degree requirements.**" Sustained record of work is + accepted in lieu of credentials. → Good; no PhD gate (unlike Smarthistory). +- "Individuals currently enrolled as **full-time students are not eligible.**" +- Open to early- and mid-career; "researchers, artists, journalists, + community-based researchers, social scientists, humanists, technologists, + practitioners." + +## Application components (exact limits) + +1. **Résumé / CV** — up to **2 pages**. +2. **Personal statement** — written **≤1,000 words** *OR* video **≤5 min**. +3. **Work proposal** — written **≤3,000 words** *OR* deck **≤10 slides**. +4. **Two work samples** — each with a brief description. + +The **work proposal must address** (treat as the sub-questions): +- Central concept / research question +- How the project engages technology substantively +- Your perspective, method, distinguishing approach +- Anticipated challenges and mitigation +- Awareness of related work / field context +- Public contribution and dissemination plans + +> No separate budget line-item or recommender/reference field is listed on the +> public page (unrestricted award, individual applicant). **Verify inside the +> portal** before assuming they're absent. + +## Selection criteria (their words) + +- **Articulated Practice** — "a clearly defined research or creative practice + and a coherent body of work." +- **Strength of Project** — "a compelling project that addresses significant + questions at the intersection of technology and society... clearly describe + the scope of work and what can be meaningfully advanced during the + fellowship year." +- **Capacity to Execute** — "a demonstrated ability to carry projects forward + and bring work to completion." +- **Public Engagement** — "evidence of sharing work publicly or maintaining + meaningful engagement with relevant fields, audiences, or areas of practice." +- **Fit with Fellowship** — "how participation... would strengthen the + proposed project and contribute to the cohort experience." +- **Collaboration** — "a willingness to share work in progress and participate + in sustained exchange with peers." + +## Mission / values language to mirror + +- "Supports **rigorous, original, and community-grounded work that addresses + pressing questions about how technology shapes society and public life.**" +- "Thoughtful, practical, and imaginative approaches to how technology is + **designed, governed, and experienced in public life.**" +- Keywords: *intersection of technology and society*, *expands public + understanding of technology*, *more informed and equitable technological + futures*, *community-grounded*. + +## Calibration — who wins (past fellows) + +The roster skews to **artist-researchers and organizer-practitioners** with a +public-good / justice angle, NOT pure technologists. Direct precedent: + +- **Lauren Lee McCarthy** (creator of **p5.js**) — 2024–26 fellow as "Artist." + A creative-coding tool-builder won. This is our closest analog. +- **Johann Diedrick** (artist/engineer) — racial bias in speech AI. +- **Dorothy Santos**, **Romi Morrison**, **Petra Kuppers** (disability/crip + futures, XR access), **Tawana Petty** (artist/organizer, surveillance), + **Fernanda Rosa** (Indigenous internet infrastructure / data sovereignty). + +**Framing takeaway:** lead with AC's *public/community dimension* and a +*society-facing question* — who owns the personal computer; what happens to the +people and machines a platform industry discards — and treat the runtime's +technical novelty as evidence of capacity, not the headline. Public engagement +(Flash Days, workshops, the 2,907-handle community, open source) maps directly +onto the "Public Engagement" + "Collaboration" criteria. + +## Sources +- https://www.ssrc.org/programs/just-tech/just-tech-fellowship/ (primary) +- https://ssrc.secure-platform.com/a/solicitations/1171/home (portal) +- https://just-tech.ssrc.org/articles/announcing-the-2024-2026-just-tech-fellows/ +- https://just-tech.ssrc.org/articles/2023-just-tech-fellows/ +- https://just-tech.ssrc.org/articles/2022-just-tech-fellows/ + +## Open items before submit +- [ ] Confirm portal fields (budget? references?) — log in and capture exact form. +- [ ] Trim personal statement to ≤1,000 words; decide written vs ≤5-min video. +- [ ] Decide work proposal format: ≤3,000-word prose vs ≤10-slide deck. +- [ ] Pick **two work samples** (candidates: AC Native bare-metal OS demo video; + a KidLisp `$code` piece; the community chat/moods commons; notepat). +- [ ] Refresh live numbers at submission (handles, pieces, commits, notepat LOC). diff --git a/grants/ssrc-just-tech-2026/cv.pdf b/grants/ssrc-just-tech-2026/cv.pdf new file mode 100644 --- /dev/null +++ b/grants/ssrc-just-tech-2026/cv.pdf diff --git a/grants/ssrc-just-tech-2026/cv.tex b/grants/ssrc-just-tech-2026/cv.tex new file mode 100644 --- /dev/null +++ b/grants/ssrc-just-tech-2026/cv.tex @@ -0,0 +1,209 @@ +% !TEX program = xelatex +% Jeffrey Alan Scudder — CV tailored for the SSRC Just Tech Fellowship 2027 (2pp). +% Selected from the full CV (papers/cv/cv.tex), weighted toward technology-and- +% society, public-engagement, teaching, and the Aesthetic Computer commons. +% +% Build (from this directory): +% tectonic -X compile cv.tex # produces cv.pdf +% # or: xelatex cv.tex + +\documentclass[10pt,letterpaper]{article} + +\usepackage[top=0.6in, bottom=0.6in, left=0.85in, right=0.85in]{geometry} + +\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} +\setmonofont[ + Extension = .otf, + UprightFont = lmmono10-regular, + ItalicFont = lmmono10-italic, + Scale = 0.85, +]{lmmono10} + +\usepackage{xcolor} +\usepackage{titlesec} +\usepackage{enumitem} +\usepackage{fancyhdr} +\usepackage{hyperref} +\usepackage{microtype} +\usepackage{parskip} + +\definecolor{acpink}{RGB}{180,72,135} +\definecolor{acpurple}{RGB}{120,80,180} +\definecolor{acdark}{RGB}{64,56,74} +\definecolor{acgray}{RGB}{119,119,119} + +\hypersetup{ + colorlinks=true, + linkcolor=acpurple, + urlcolor=acpurple, + citecolor=acpurple, + pdfauthor={Jeffrey Alan Scudder}, + pdftitle={Jeffrey Alan Scudder --- CV (SSRC Just Tech 2027)}, + pdfsubject={Curriculum Vitae}, +} + +\titleformat{name=\section,numberless}[block] + {\normalfont\bfseries\small\color{acdark}} + {} + {0pt} + {\MakeUppercase} + [\vspace{-0.25em}{\color{acgray}\rule{\linewidth}{0.4pt}}] +\titlespacing*{\section}{0pt}{0.9em}{0.4em} + +\pagestyle{fancy} +\fancyhf{} +\renewcommand{\headrulewidth}{0pt} +\fancyhead[L]{\footnotesize\color{acgray} Jeffrey Alan Scudder --- CV} +\fancyhead[R]{\footnotesize\color{acgray}\href{https://aesthetic.computer}{aesthetic.computer}} +\fancyfoot[C]{\footnotesize\color{acgray}\thepage} + +\fancypagestyle{firstpage}{% + \fancyhf{}% + \renewcommand{\headrulewidth}{0pt}% + \fancyfoot[C]{\footnotesize\color{acgray}\thepage}% +} + +\newlength{\cvyearwidth} +\setlength{\cvyearwidth}{4.4em} +\newenvironment{cvlist}{% + \begin{list}{}{% + \setlength{\leftmargin}{\cvyearwidth}% + \setlength{\labelwidth}{\cvyearwidth}% + \setlength{\labelsep}{0.4em}% + \setlength{\itemsep}{0.08em}% + \setlength{\parsep}{0pt}% + \setlength{\topsep}{0.15em}% + \renewcommand{\makelabel}[1]{\color{acgray}\small ##1\hfill}% + }% +}{\end{list}} +\newcommand{\cv}[2]{\item[#1] #2} + +\setlength{\parindent}{0pt} +\setlength{\parskip}{0.2em} +\widowpenalty=10000 +\clubpenalty=10000 + +\begin{document} +\thispagestyle{firstpage} + +\begin{center} + {\fontsize{20pt}{22pt}\selectfont\color{acdark}\textbf{Jeffrey Alan Scudder}}\par + \vspace{0.2em} + {\small\color{acpink} Artist, educator, toolmaker --- Los Angeles, CA}\par + \vspace{0.4em} + {\small + \href{https://aesthetic.computer}{aesthetic.computer} \; \textperiodcentered \; + \href{https://jas.life}{jas.life} \; \textperiodcentered \; + \href{mailto:mail@aesthetic.computer}{mail@aesthetic.computer} + }\par +\end{center} + +\vspace{0.3em} +{\color{acgray}\rule{\linewidth}{0.4pt}} +\vspace{0.2em} + +% ============ PROFILE ============ +\section*{Profile} +Artist, educator, and toolmaker who builds creative-computing instruments for +other people to use and own. Creator of \textbf{Aesthetic Computer} --- a +runtime, bare-metal operating system, and online commons for creative computing +(\textasciitilde2,900 registered members; 400+ community-authored programs; +20,000+ public commits) --- and of \textbf{Whistlegraph}, \textbf{KidLisp}, and +\textbf{No Paint}. Work centers on re-founding the personal computer as a public, +commonly-owned thing, run on salvaged hardware and legible all the way down. + +% ============ EDUCATION ============ +\section*{Education} +\begin{cvlist} + \cv{2013}{Yale School of Art --- MFA} + \cv{2011}{Ringling College of Art + Design --- BFA} + \cv{2010}{AICAD New York Studio Program Residency} +\end{cvlist} + +% ============ RESIDENCY ============ +\section*{Current Residency} +\begin{cvlist} + \cv{2026}{Author in Residence, UCLA Social Software (Casey Reas \& Lauren Lee McCarthy), Los Angeles, CA} +\end{cvlist} + +% ============ SOFTWARE / PROJECTS ============ +\section*{Software \& Platforms} +\begin{cvlist} + \cv{2021--}{\href{https://aesthetic.computer}{Aesthetic Computer} --- creative-computing runtime, OS, and social commons (open source)} + \cv{2025--}{AC Native --- bare-metal creative operating system; boots salvaged laptops from USB as PID 1 in \textasciitilde7s} + \cv{2024--}{KidLisp --- minimal language for generative art (118 built-ins); short-code sharing} + \cv{2024--}{notepat --- open-source phone/keyboard instrument (Hacker News front page)} + \cv{2016--}{No Paint --- performable paint program / Radical Digital Painting (Hacker News front page)} +\end{cvlist} + +% ============ TEACHING ============ +\section*{Teaching} +\begin{cvlist} + \cv{2026}{Author in Residence, UCLA Social Software (Casey Reas), Los Angeles, CA} + \cv{2024}{UCLA Department of Media Arts --- Summer Section: Interactivity} + \cv{2019}{Assistant Professor of Emerging Digital Practices, Southern Oregon University} + \cv{2016}{Visiting Professor, UCLA Digital Media Arts} + \cv{2013--16}{Adjunct Professor, Parsons School for Design, New York} +\end{cvlist} + +% ============ COLLECTIONS ============ +\section*{Public Collections} +\begin{cvlist} + \cv{}{KADIST Foundation, San Francisco} + \cv{}{SMK --- National Gallery of Denmark} +\end{cvlist} + +% ============ SELECTED EXHIBITIONS ============ +\section*{Selected Exhibitions} +\begin{cvlist} + \cv{2026}{47th Venice Family Clinic Art Exhibition + Auction, Venice, CA} + \cv{2025}{Turbo Cheap (inaugural exhibition), Los Angeles, CA} + \cv{2022}{\href{https://feralfile.com/exhibitions/ten-whistlegraphs-thv}{Ten Whistlegraphs}, Feral File (solo, w/ Whistlegraph)} + \cv{2019}{Internet Archive Artist-in-Residency Exhibition, San Francisco, CA} + \cv{2018}{Radical Digital Painting: Los Angeles, The Newsstand Project + CAP, LA} + \cv{2018}{OPEN CODES (Schloss Solitude Web Residencies), ZKM, Karlsruhe} + \cv{2017}{\href{https://left.gallery/tumpin}{Tumpin}, left.gallery (solo, online)} +\end{cvlist} + +% ============ SELECTED LECTURES / PERFORMANCES ============ +\section*{Selected Lectures \& Performances} +\begin{cvlist} + \cv{2022}{The Longest Whistlegraph Ever (so far), New Museum, New York} + \cv{2020}{New Dynamic Graphics: Whistlegraph Recital, Korea HCI keynote} + \cv{2019}{New Dynamic Graphics, India HCI keynote, Hyderabad} + \cv{2019}{Radical Digital Painting + VJ, Internet Archive DWeb Camp, CA} + \cv{2018}{\href{https://media.ccc.de/v/35c3-9774-radical_digital_painting}{Radical Digital Painting}, 35c3 Chaos Communication Congress, Leipzig} + \cv{2018}{Casey Reas \& Jeffrey Alan Scudder in Conversation, bitforms gallery, NYC} + \cv{2016--18}{European performance-drawing tours w/ Goodiepal \& Pals (Cafe OTO, Mayhem, Louisiana Museum, Pioneer Works, et al.)} +\end{cvlist} + +% ============ SELECTED PRESS ============ +\section*{Selected Press} +\begin{cvlist} + \cv{2023}{\href{https://dirt.fyi/article/2023/09/whistlegraph}{Whistlegraph --- A new audience for generative art}, Dirt} + \cv{2017}{\href{https://rhizome.org/editorial/2017/dec/05/Artist-Profile-Jeffrey-Alan-Scudder}{Artist Profile: Jeffrey Alan Scudder}, Rhizome} + \cv{2017}{\href{https://schloss-post.com/manifesto-radical-digital-painting}{A Manifesto for Radical Digital Painting}, Schlosspost} + \cv{2017}{\href{https://www.artsy.net/article/artsy-editorial-microsoft-paints-influence-artists-bigger}{Microsoft Paint's Influence on Artists}, Artsy} + \cv{2020/24}{Hacker News front page --- \emph{No Paint} (2020), \emph{notepat} (2024)} +\end{cvlist} + +% ============ COMMUNITY ============ +\section*{Community} +\begin{cvlist} + \cv{2025--}{Host, biweekly NELA Computer Club demos, Plot.Place, Chinatown, Los Angeles} +\end{cvlist} + +\end{document} diff --git a/grants/ssrc-just-tech-2026/figures/cover-prompt.txt b/grants/ssrc-just-tech-2026/figures/cover-prompt.txt new file mode 100644 --- /dev/null +++ b/grants/ssrc-just-tech-2026/figures/cover-prompt.txt @@ -0,0 +1,1 @@ +A single refurbished laptop, lid open, seen three-quarters from the front, restored and dignified — rendered like a hand-painted civic seal or public-library sign. Its glowing screen shows one small, simple generative mark: a few clean colored geometric strokes (a tiny piece of generative art), nothing busy. The laptop rests on a low engraved stone pedestal, presented like a small public monument. A short engraved banner across the pedestal reads "THE PUBLIC COMPUTER" in hand-lettered capitals. The mood is warm, optimistic, and quietly defiant: a machine the world discarded, given back to a community as a commons. Plain background, generous margins. No people, no faces, no hands, no brand logos or manufacturer text anywhere on the laptop, no clutter — ONE laptop only. diff --git a/grants/ssrc-just-tech-2026/figures/cover.png b/grants/ssrc-just-tech-2026/figures/cover.png new file mode 100644 --- /dev/null +++ b/grants/ssrc-just-tech-2026/figures/cover.png diff --git a/grants/ssrc-just-tech-2026/personal-statement.md b/grants/ssrc-just-tech-2026/personal-statement.md new file mode 100644 --- /dev/null +++ b/grants/ssrc-just-tech-2026/personal-statement.md @@ -0,0 +1,84 @@ +# Personal Statement — SSRC Just Tech Fellowship 2027 +### Jeffrey Alan Scudder · final (cap: ≤1,000 words written, or ≤5-min video) + +I make software that tries to give the personal computer back to the people +using it. I trained as a painter — a BFA from Ringling, an MFA from the Yale +School of Art — and the standard a mark leaves on a surface, immediate and +yours, is still the one everything else in my practice answers to. When I moved +into software it was to make a tool feel that immediate, and somewhere in that +work I realized the tool itself was the art. For the last several years I have +built and operated **Aesthetic Computer**: a creative-computing runtime, an +operating system, and a small online society that people make and keep their +work on rather than rent. + +It is not a product with users. It is closer to a place with residents. As of +this writing it carries **2,907 registered handles**, **402 community-authored +pieces**, and a continuous public record of **20,109 commits** across roughly +twenty contributors. People there have a name, a "mood" that becomes the site's +banner for the day, a chat that follows them into any program, a community news +board, and the standing to publish their own programs into shared web address +space. I built the whole thing in the open and gave it away as a commons, +because the question underneath it is not technical, it is civic: *who owns the +personal computer, and what would it take to own one in common?* + +That question stopped being abstract this past year. Windows 10's end-of-life +stranded an estimated **240 million** working x86_64 laptops, and the world now +generates roughly **62 million tonnes** of e-waste annually. Meanwhile the +demand for AI compute is pulling everything toward the data center, turning the +machine on your desk into a thin client — a rented window onto someone else's +computer, with your identity kept in their cloud account. Both forces point the +same way: the personal computer, the most basic site of creative freedom, +becomes something you no longer really own or can read all the way down. + +So I built the counter-move. **AC Native** is a bare-metal creative operating +system that boots a salvaged laptop from a USB stick — as the first process on +the machine, with no systemd, no shell, no consumer userland — into a full +creative environment in about seven seconds, with sound, graphics, input, +network, and your identity stored in the device rather than a login. The +per-seat cost lands near fifty dollars. A laptop the upgrade cycle threw away +becomes a serious instrument again: a 3,870-line synthesizer on it models all +128 General MIDI voices through physical modeling. And the language at the +center of the system, **KidLisp**, is deliberately tiny — 118 built-ins — so a +few lines earn a short code anyone can run, share by QR, or remix. My house +guide for the code states the value plainly: *a piece of this system should fit +in one mind.* That is an accessibility claim and a governance claim at once; a +commons can only be self-governed if its members can actually read it. + +I'm applying to Just Tech because this is precisely the lane the program funds — +a practitioner building a working alternative at the intersection of technology +and society and tending the public that lives inside it — and because the fit +here is unusually direct. I am currently **Author in Residence at UCLA's Social +Software studio, hosted by Casey Reas and Lauren Lee McCarthy.** McCarthy, the +creator of p5.js, was herself a Just Tech fellow; the precedent that artist-built +software with a society-facing argument belongs in this cohort is, for me, a +person I work with every week. The KidLisp teaching cards I print and circulate +were first made for that studio. + +What the fellowship year makes possible is the part I cannot do alone: turning +AC Native from a working prototype into a **public device library** — a +circulating fleet of reflashed laptops, with Flash Days and family workshops — +so that "you can own your computer again" stops being an argument and becomes +something a person in a room can hold in their hands. I already host biweekly +NELA Computer Club demos in Chinatown, Los Angeles; this is the path from a demo +to a lending program. + +I'll be honest about the work's shape, because the program asks for it. AC today +has a strong central steward — me — and a real but small core of contributors. +Part of the year's explicit work is widening that: lowering the barrier to +authorship and co-stewardship, and writing the governance down so the commons +can outlast any one maintainer. A cohort of people thinking rigorously about +technology, equity, and the public is exactly the room I want to do that in, and +exactly the kind of sparring I'd bring to others' work — anyone can publish a +piece into Aesthetic Computer, so it's a hospitable substrate for collaboration, +not just a thing I show. + +The throughline of my practice, from a painted mark to a kernel, has always been +*ownership and immediacy together* — the whole stack in hand. What's changed is +the stakes. Once other people make and keep their work on what you've built, it +becomes a commons; and as computing gets pulled into the data center, holding +onto a computer you actually own stops being a preference and becomes something +worth defending. I'd rather hand a community a living, repeatable commons than a +sealed artwork. That is the work, and the fellowship year is where I'd push it +from one person's system toward many people's public. + +*(~870 words — under the 1,000 cap.)* diff --git a/grants/ssrc-just-tech-2026/work-proposal.md b/grants/ssrc-just-tech-2026/work-proposal.md new file mode 100644 --- /dev/null +++ b/grants/ssrc-just-tech-2026/work-proposal.md @@ -0,0 +1,180 @@ +# Work Proposal — SSRC Just Tech Fellowship 2027 +### Jeffrey Alan Scudder · final (cap: ≤3,000 words written, or ≤10-slide deck) + +**Project:** *The Public Computer* — Aesthetic Computer as a digital community +commons, and AC Native as the public device library that lets a community own +it. + +--- + +## Central concept and research question + +Personal computing is being quietly re-constituted, from two directions at once. +The demand for AI compute is pulling everything toward the data center, turning +the machine on your desk into a thin client — a rented window onto someone +else's computer. At the same time, the consumer upgrade cycle is declaring +hundreds of millions of working machines obsolete: Windows 10's end-of-life +alone stranded an estimated **240 million** x86_64 laptops, against a backdrop of +roughly **62 million tonnes** of e-waste a year. The personal computer — the most +basic site of creative and civic freedom — is becoming something you neither own +nor can read all the way down. + +My question is the counter-move: **Can personal computing be re-founded as a +commons — owned in common, legible to its members, and run on hardware the +market has discarded — and what does it actually take to operate one in public?** + +The fellowship year turns an existing, working system into a concrete answer: a +**public device library** of salvaged laptops flashed with a creative operating +system, paired with public Flash Days, family workshops, and an open on-ramp +into a community that already exists. + +## How the project engages technology substantively + +This is not a critique delivered from outside the machine. It is a working +counter-model built down to the kernel, already running, and fully public in the +repository. + +- **A bare-metal creative OS.** *AC Native* boots from USB via UEFI as the first + process (PID 1) on a custom Linux 6.14.2 kernel with an embedded initramfs — + no systemd, no shell, no consumer userland — and reaches a running creative + piece in about 7.3 seconds. Graphics via DRM/KMS, input via raw evdev, audio + via ALSA at 192 kHz with 32-voice polyphony, plus WiFi, camera, and on-device + text-to-speech. Each build compiles in its own git hash and a spoken build + name, so any machine can tell you exactly what it is running and verify itself. +- **A full instrument on the metal.** A 3,870-line C synthesizer implements all + 128 General MIDI voices through physical modeling — digital waveguides for + strings and brass, modal synthesis for bells — so a fifty-dollar laptop is a + serious musical instrument, not a toy. +- **A commons of authorship.** Members publish JavaScript (`.mjs`) and KidLisp + (`.lisp`) programs into shared, URL-addressable space (`@handle/piece-name`); + KidLisp snippets earn short `$codes` cached for anyone to run or remix. The + language is intentionally minimal — 118 built-ins — so the barrier to becoming + an author is design, not aptitude. +- **A real social fabric.** Durable, moderated, multi-channel chat that overlays + any program; a "moods" microblog where a member's status becomes the site's + message-of-the-day; reactions; a community news board with posts, comments, + and votes; and a two-tier presence signal ("here" vs "online"). Identity + dual-writes to the open ATProto/Bluesky social web rather than a walled garden. +- **Anti-extractive by construction.** Self-hosted on its own stack and its own + git server; local-first, with an encrypted on-device memory store and remote + sync off by default; a working "erase and forget me" endpoint; and no + advertising or tracking infrastructure anywhere across its ~70 database + collections. There is no surface for surveillance because the goal was never + attention. + +The platform is not a proposal: it has run continuously for roughly three and a +half years, across 20,109 public commits and ~20 contributors, and today carries +2,907 handles and 402 community pieces. + +## Perspective, method, and distinguishing approach + +My method is **build-and-operate in public.** I don't study a community from the +outside; I run one, and I publish the entire apparatus — code, voice, governance, +and finances — as I go, including a "papermill" that presses the project's own +thinking into freely available papers and printable cards. Three commitments +distinguish the work from its neighbors: + +1. **Knowability as a civic property.** Software a public is meant to own must be + software that public can read. The small-language, small-pieces design ("a + piece of this system should fit in one mind") is a political claim made + technical: self-governance requires legibility. +2. **Salvage as a stance.** Building forward on discarded hardware is both an + environmental position and an accessibility one — it drives the per-seat cost + to where a library, a school, or a family can actually reach it (~$50 raw; + ~$128 per seat refurbished and flashed). This is roughly two orders of + magnitude below the Princeton Laptop Orchestra's per-laptop cost, which kept + that powerful idea locked inside wealthy universities. +3. **A place, not a platform.** The design goal is belonging — a handle, a mood, + a published piece — not engagement metrics. The architecture reflects that + all the way down. + +My background as a painter and a teacher (UCLA, Parsons, Southern Oregon; and +currently Author in Residence at UCLA's Social Software studio with Casey Reas +and former Just Tech fellow Lauren Lee McCarthy) is the method's other half: the +work is judged by whether a person can pick up the instrument and make something +that is unmistakably theirs. + +## The fellowship year — scope and what advances + +A realistic one-year arc for the unrestricted award, paced around public events: + +- **Q1 — The Library, v1.** Build out a lending fleet of ~10–15 reflashed + ThinkPad laptops; harden the AC Native flash/over-the-air-update pipeline for + non-expert stewards; write the lending, care, and safety documentation that + lets the fleet leave my hands. +- **Q2 — Flash Days.** Run public Flash Days and family workshops in Los Angeles, + via existing partners (NELA Computer Club; the UCLA studio), where people flash + a salvaged laptop and leave able to write their first KidLisp piece. Document + accessibility outcomes honestly — who it works for, where it doesn't. +- **Q3 — Widening the commons.** Lower the barrier to authorship and + co-stewardship: an onboarding path, a "your first piece" track, and plain + governance writing about how moderation, handles, and publishing actually + function — so stewardship can spread beyond a single maintainer. +- **Q4 — Public account.** Publish a plain-language field report on what it costs + and what it takes to operate a computing commons, written to be copied, plus + the standing references for the OS and the language. + +What "meaningfully advances this year": the device library goes from prototype +to a standing, lendable program; the online community gains a real on-ramp for +new authors and co-stewards; and the whole model is documented well enough to be +reproduced elsewhere. The deliverables are tangible — a fleet, a series of public +events, and a written method — not a research finding alone. + +## Anticipated challenges and mitigation + +- **Single-steward risk.** AC today has one dominant maintainer; a commons that + depends on one person is fragile. *Mitigation:* widening contributorship and + writing the governance down are explicit Q3 deliverables, and the cohort is the + venue for pressure-testing them. +- **Hardware heterogeneity.** Salvaged laptops vary widely. *Mitigation:* + standardize the lending fleet on a small set of known-good models (ThinkPad 11e + Yoga) while keeping the OS general, and publish a compatibility list so others + can extend it. +- **Local AI on low-end hardware.** A live research thread — letting language + models into the OS as local, owned faculties rather than data-center landlords + — may simply not fit on a fifty-dollar machine. *Mitigation:* treat the limit + itself as a publishable finding (how far a personal computer carries on its own + before it must call out), so the risk produces knowledge either way. +- **Sustainability beyond the grant.** *Mitigation:* the model is deliberately + low-cost (self-hosted, salvage hardware); the unrestricted award funds the + build-out, and the field report is aimed at portability rather than dependence + on me or on the grant. +- **Community care at scale.** Moderation scales with people. *Mitigation:* the + moderation layer already exists (mutes, filtering); the year formalizes the + norms around it rather than inventing them under pressure. + +## Awareness of related work and field context + +The project sits among, and distinguishes itself from, several lineages. +**Laptop-orchestra and live-coding practice** (the Princeton Laptop Orchestra, +TOPLAP, Sonic Pi) — but at two orders of magnitude lower per-seat cost and as a +standing community rather than an ensemble. **Accessible creative-coding tools** +(Processing, and p5.js, whose creator is a prior Just Tech fellow and a current +collaborator) — but extended downward to the operating system itself, not only +the sketch. **Right-to-repair and e-waste movements** — but answering "what do +you actually *do* with the salvaged machine" with a full creative environment +rather than a recycling logistics. And the **small-internet / IndieWeb / ATProto +commons** — which AC joins by dual-writing identity to the open social web rather +than enclosing it. The distinctive contribution is holding the *whole stack*, from +kernel to community, in one legible, commonly-owned system. + +## Public contribution and dissemination + +- **The device library and Flash Days** put the argument directly in public + hands — people leave owning a working computer and able to program it. +- **Everything is open and free:** the source, the `papers/` research platter, + and the printable cards; the field report is written explicitly to be copied + and reused by libraries, schools, and other communities. +- **The existing community** (2,907 handles; an active chat / moods / news + commons) is the standing audience and co-author — not a hypothetical one. +- **Cohort collaboration:** because anyone can publish a piece into Aesthetic + Computer, it is a hospitable substrate for other fellows' work, making the + optional collaborative seed funding a natural fit. + +The aim is not a better app. It is a working demonstration, repeatable by others, +that the personal computer can still be a public thing — owned in common, read +all the way down, and built on the machines the market threw away. + +*(~1,180 words — well under the 3,000 cap; room to expand a Q-by-Q budget +narrative or a deeper related-work section if the portal allows, or to compress +into a ≤10-slide deck.)* diff --git a/grants/ssrc-just-tech-2026/work-samples.md b/grants/ssrc-just-tech-2026/work-samples.md new file mode 100644 --- /dev/null +++ b/grants/ssrc-just-tech-2026/work-samples.md @@ -0,0 +1,64 @@ +# Work Samples — SSRC Just Tech Fellowship 2027 +### Jeffrey Alan Scudder · (program asks for **two** samples, each with a brief description) + +The program requires **two** work samples with brief descriptions. Lead with +#1 and #2 below; #3–#4 are backups depending on what the portal accepts (video +vs link vs image). + +--- + +## Sample 1 — AC Native: a public computer, owned down to the kernel +**Format:** short video (≤2 min) of a salvaged ThinkPad booting from USB into the +creative OS in ~7 seconds, plus a link to the public source. +**Link:** `https://aesthetic.computer` · AC Native source in `fedac/native/` · +*reuse / re-cut the LACMA boot footage in `grants/lacma-2026/` (video-cards, vo).* + +**Description (draft, ~55 words):** +> A bare-metal creative operating system that boots a fifty-dollar salvaged +> laptop into a full instrument — sound, graphics, input, network — in about +> seven seconds, with your identity in the device rather than a cloud login. It +> is the project's thesis made physical: owning the personal computer all the +> way down to the first process, on hardware the market discarded. + +--- + +## Sample 2 — Aesthetic Computer: the community commons +**Format:** a short screen capture of the living system — chat overlaid on a +piece, a member's "mood" becoming the site banner, and a member's published +`@handle/piece` opening at its own web address — plus the link. +**Link:** `https://aesthetic.computer` + +**Description (draft, ~55 words):** +> A creative-computing runtime and small online society — 2,907 handles, 402 +> community-authored programs — where people make pieces in JavaScript or +> KidLisp alongside chats, moods, and a news board, each living at a shareable +> web address. Self-hosted, local-first, no ads or tracking. The commons the +> proposal sets out to widen and sustain. + +--- + +## Backup samples (use if a third slot opens or to swap) + +### Sample 3 — a KidLisp `$code` piece (accessibility as a civic property) +**Link:** a single `$code` piece, e.g. `https://aesthetic.computer/$berz` · QR-shareable. +> A few lines of a deliberately tiny language (118 built-ins) produce generative +> art that anyone can run, fork, or share by QR. Made for, and circulated in, +> Casey Reas and Lauren Lee McCarthy's UCLA Social Software studio — accessibility +> as a civic property: the whole instrument fits in one mind. + +### Sample 4 — notepat (a tool people depend on) +**Link:** `https://aesthetic.computer/notepat` +> An open-source instrument that turns a phone or laptop keyboard into a playable, +> shareable score, running identically in a browser and as the default piece on +> the bare-metal OS. Reached the front page of Hacker News — a tool built for +> other people to make their own work with. + +--- + +## Asset checklist +- [ ] Re-cut the AC Native boot video to ≤2 min, no narration or short caption + (source footage: `grants/lacma-2026/lacma-grant-video*.mp4`, `video-cards*`). +- [ ] Capture a fresh 30–60s community-commons screen recording (chat + mood + + published piece) on prod. +- [ ] Confirm portal accepts the format for each (video upload vs URL vs image). +- [ ] Write final ≤60-word captions to the portal's exact limit. diff --git a/system/public/papers.aesthetic.computer/deadlines/index.html b/system/public/papers.aesthetic.computer/deadlines/index.html --- a/system/public/papers.aesthetic.computer/deadlines/index.html +++ b/system/public/papers.aesthetic.computer/deadlines/index.html @@ -434,19 +434,19 @@ proposalLabel: 'Personal Computers Are Not Done Yet', notes: 'Submitted via Submittable for the April 22 deadline. Aesthetic.Computer: Personal Computers Are Not Done Yet — $50,000 requested for the Library build-out: a lending fleet of laptops flashed into the bare-metal creative OS, Flash Days and Family Play afternoons at LACMA, a WIP showing at the 2027 Symposium and a completed showing at the 2028 Demo Day. Biennial cycle restarts in 2026; awaiting decision.', }, { - section: 'submitted', + section: 'decided', venue: 'Tezos Foundation', venueUrl: 'https://tezos.foundation/grants/', track: 'Ecosystem Grant — Smart Contract Templates', deadline: '2026-06-30', deadlineExtra: 'rolling Q2 cycle', conference: 'Reviewed July 2026', - status: 'submitted', - statusLabel: 'Submitted', + status: 'rejected', + statusLabel: 'Rejected', proposalUrl: 'https://grants.tezos.foundation/proposals/detail/a2c89b4d-a1ed-42cc-b2df-0e3e59954a7f/', proposalLabel: 'KidLisp Keeps v12 (management)', draftPath: 'tezos-foundation-keeps-2026/DRAFT.md', - notes: 'Submitted 2026-05-22. KidLisp Keeps v12 — A reusable preservation contract for executable generative art on Tezos. $45,000 across 5 milestones (~14 weeks): v12 contract work (rotatable signer registry, role separation, holder-governed metadata, opt-in v11→v12 migration claim) released as a reusable Smart Contract Template, plus tutorial videos, polish on the custom keeps wallet, four NELA Computer Club appointments + one public workshop in LA, and an outreach campaign into the existing fxhash and objkt creative-coding community. Roughly 53% of the budget goes to media/events/adoption work. Awaiting Q2 cycle review.', + notes: 'Submitted 2026-05-22; rejected 2026-06-15. KidLisp Keeps v12 — A reusable preservation contract for executable generative art on Tezos. $45,000 across 5 milestones (~14 weeks): v12 contract work (rotatable signer registry, role separation, holder-governed metadata, opt-in v11→v12 migration claim) released as a reusable Smart Contract Template, plus tutorial videos, polish on the custom keeps wallet, four NELA Computer Club appointments + one public workshop in LA, and an outreach campaign into the existing fxhash and objkt creative-coding community. Draft stays in vault for a future cycle.', }, { section: 'open', @@ -566,10 +566,11 @@ venueUrl: 'https://www.ssrc.org/programs/just-tech/just-tech-fellowship/', track: 'Fellowship (Fia, sourced 2026-05-14)', deadline: '2026-06-28', deadlineExtra: '23:59 EST', - conference: 'One-year fellowship · US residents', - status: 'candidate', - statusLabel: 'Candidate', - notes: 'Up to $60,000 unrestricted for one year of research or creative practice at the intersection of technology and society. Not open to full-time students; fellows must reside in the US; any citizenship. Strong fit for the AC research platter — no directory yet.', + conference: 'One-year fellowship (Jan–Dec 2027) · US residents', + status: 'go', + statusLabel: 'Active', + draftPath: 'ssrc-just-tech-2026/DRAFT.md', + notes: 'Up to $60,000 unrestricted for one year at the intersection of technology and society. DRAFT v0 ready (2026-06-15) — spine: Aesthetic Computer as a digital community commons + AC Native low-end creative OS / public device library; personal statement + full work proposal mapped to all six required sub-questions. Direct precedent: p5.js\'s Lauren Lee McCarthy was a 2024–26 fellow as an Artist. Next: confirm portal fields, trim to caps (≤1,000 / ≤3,000 words), pick two work samples. Not open to full-time students; any citizenship.', }, // --- Rolling ---