aesthetic.computer / core
Monorepo for Aesthetic.Computer aesthetic.computer
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chore: clean working tree — updated .toc files + ucla-arts cards PDF

Build artifacts from cards regeneration + rebuilt ucla-arts cards PDF with tabular fix.

Co-Authored-By: Claude Opus 4.6 (1M context) <noreply@anthropic.com>

Jeffrey Alan Scudder 809be486 f4a32b07

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papers/arxiv-api/api-cards.toc
··· 12 12 \contentsline {subsection}{\numberline {4.1}Five lifecycle functions}{13}{subsection.4.1}% 13 13 \contentsline {subsection}{\numberline {4.2}API injection via destructuring}{15}{subsection.4.2}% 14 14 \contentsline {subsection}{\numberline {4.3}Separation of simulation and rendering}{16}{subsection.4.3}% 15 - \contentsline {subsection}{\numberline {4.4}Unified event handling}{18}{subsection.4.4}% 15 + \contentsline {subsection}{\numberline {4.4}Unified event handling}{17}{subsection.4.4}% 16 16 \contentsline {subsection}{\numberline {4.5}Drawing primitives: stateless by default}{19}{subsection.4.5}% 17 17 \contentsline {subsection}{\numberline {4.6}No canvas configuration}{20}{subsection.4.6}% 18 - \contentsline {section}{\numberline {5}API Surface Comparison}{22}{section.5}% 19 - \contentsline {subsection}{\numberline {5.1}Naming philosophy}{22}{subsection.5.1}% 20 - \contentsline {subsection}{\numberline {5.2}Color model}{24}{subsection.5.2}% 21 - \contentsline {section}{\numberline {6}State Management}{25}{section.6}% 22 - \contentsline {subsection}{\numberline {6.1}Processing: global variables}{25}{subsection.6.1}% 23 - \contentsline {subsection}{\numberline {6.2}AC: module-level closures}{25}{subsection.6.2}% 24 - \contentsline {section}{\numberline {7}The Genealogy}{27}{section.7}% 25 - \contentsline {subsection}{\numberline {7.1}Design By Numbers (1999)}{27}{subsection.7.1}% 26 - \contentsline {subsection}{\numberline {7.2}Processing (2001)}{27}{subsection.7.2}% 27 - \contentsline {subsection}{\numberline {7.3}p5.js (2014)}{28}{subsection.7.3}% 28 - \contentsline {subsection}{\numberline {7.4}openFrameworks (2005)}{28}{subsection.7.4}% 29 - \contentsline {subsection}{\numberline {7.5}The instrument turn}{29}{subsection.7.5}% 30 - \contentsline {section}{\numberline {8}Worked Example: A Bouncing Ball}{30}{section.8}% 31 - \contentsline {subsection}{\numberline {8.1}Processing}{30}{subsection.8.1}% 32 - \contentsline {subsection}{\numberline {8.2}p5.js}{31}{subsection.8.2}% 33 - \contentsline {subsection}{\numberline {8.3}AC}{31}{subsection.8.3}% 34 - \contentsline {section}{\numberline {9}Design Rationale}{33}{section.9}% 35 - \contentsline {subsection}{\numberline {9.1}Why five functions?}{33}{subsection.9.1}% 36 - \contentsline {subsection}{\numberline {9.2}Why inject the API?}{33}{subsection.9.2}% 37 - \contentsline {subsection}{\numberline {9.3}Why 120Hz simulation?}{34}{subsection.9.3}% 38 - \contentsline {subsection}{\numberline {9.4}Why no canvas size?}{35}{subsection.9.4}% 39 - \contentsline {section}{\numberline {10}Extended Lifecycle}{36}{section.10}% 40 - \contentsline {section}{\numberline {11}Conclusion}{37}{section.11}% 18 + \contentsline {section}{\numberline {5}API Surface Comparison}{21}{section.5}% 19 + \contentsline {subsection}{\numberline {5.1}Naming philosophy}{21}{subsection.5.1}% 20 + \contentsline {subsection}{\numberline {5.2}Color model}{23}{subsection.5.2}% 21 + \contentsline {section}{\numberline {6}State Management}{24}{section.6}% 22 + \contentsline {subsection}{\numberline {6.1}Processing: global variables}{24}{subsection.6.1}% 23 + \contentsline {subsection}{\numberline {6.2}AC: module-level closures}{24}{subsection.6.2}% 24 + \contentsline {section}{\numberline {7}The Genealogy}{26}{section.7}% 25 + \contentsline {subsection}{\numberline {7.1}Design By Numbers (1999)}{26}{subsection.7.1}% 26 + \contentsline {subsection}{\numberline {7.2}Processing (2001)}{26}{subsection.7.2}% 27 + \contentsline {subsection}{\numberline {7.3}p5.js (2014)}{27}{subsection.7.3}% 28 + \contentsline {subsection}{\numberline {7.4}openFrameworks (2005)}{27}{subsection.7.4}% 29 + \contentsline {subsection}{\numberline {7.5}The instrument turn}{28}{subsection.7.5}% 30 + \contentsline {section}{\numberline {8}Worked Example: A Bouncing Ball}{29}{section.8}% 31 + \contentsline {subsection}{\numberline {8.1}Processing}{29}{subsection.8.1}% 32 + \contentsline {subsection}{\numberline {8.2}p5.js}{30}{subsection.8.2}% 33 + \contentsline {subsection}{\numberline {8.3}AC}{30}{subsection.8.3}% 34 + \contentsline {section}{\numberline {9}Design Rationale}{32}{section.9}% 35 + \contentsline {subsection}{\numberline {9.1}Why five functions?}{32}{subsection.9.1}% 36 + \contentsline {subsection}{\numberline {9.2}Why inject the API?}{32}{subsection.9.2}% 37 + \contentsline {subsection}{\numberline {9.3}Why 120Hz simulation?}{33}{subsection.9.3}% 38 + \contentsline {subsection}{\numberline {9.4}Why no canvas size?}{34}{subsection.9.4}% 39 + \contentsline {section}{\numberline {10}Extended Lifecycle}{35}{section.10}% 40 + \contentsline {section}{\numberline {11}Conclusion}{36}{section.11}% 41 41 \contentsfinish
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papers/arxiv-calarts/calarts-cards.toc
··· 1 - \contentsline {section}{\numberline {1}The Disney Machine}{3}{section.1}% 2 - \contentsline {section}{\numberline {2}Callouts}{5}{section.2}% 3 - \contentsline {subsection}{\numberline {2.1}The crit as oral tradition}{5}{subsection.2.1}% 4 - \contentsline {subsection}{\numberline {2.2}Hallway knowledge}{6}{subsection.2.2}% 5 - \contentsline {subsection}{\numberline {2.3}The institutional dare}{7}{subsection.2.3}% 6 - \contentsline {section}{\numberline {3}Why Papers}{9}{section.3}% 7 - \contentsline {subsection}{\numberline {3.1}The paper as callout}{9}{subsection.3.1}% 8 - \contentsline {subsection}{\numberline {3.2}The paper as instrument}{10}{subsection.3.2}% 9 - \contentsline {subsection}{\numberline {3.3}The PSYCHO designation}{11}{subsection.3.3}% 10 - \contentsline {section}{\numberline {4}CalArts and Aesthetic Computer}{12}{section.4}% 11 - \contentsline {subsection}{\numberline {4.1}The OS inheritance}{12}{subsection.4.1}% 12 - \contentsline {subsection}{\numberline {4.2}The crit goes online}{13}{subsection.4.2}% 13 - \contentsline {section}{\numberline {5}Against Neutrality}{14}{section.5}% 14 - \contentsline {section}{\numberline {6}Conclusion}{16}{section.6}% 1 + \contentsline {section}{\numberline {1}The Disney Machine}{4}{section.1}% 2 + \contentsline {section}{\numberline {2}Callouts}{6}{section.2}% 3 + \contentsline {subsection}{\numberline {2.1}The crit as oral tradition}{6}{subsection.2.1}% 4 + \contentsline {subsection}{\numberline {2.2}Hallway knowledge}{7}{subsection.2.2}% 5 + \contentsline {subsection}{\numberline {2.3}The institutional dare}{8}{subsection.2.3}% 6 + \contentsline {section}{\numberline {3}Why Papers}{10}{section.3}% 7 + \contentsline {subsection}{\numberline {3.1}The paper as callout}{10}{subsection.3.1}% 8 + \contentsline {subsection}{\numberline {3.2}The paper as instrument}{11}{subsection.3.2}% 9 + \contentsline {subsection}{\numberline {3.3}The PSYCHO designation}{12}{subsection.3.3}% 10 + \contentsline {section}{\numberline {4}CalArts and Aesthetic Computer}{13}{section.4}% 11 + \contentsline {subsection}{\numberline {4.1}The OS inheritance}{13}{subsection.4.1}% 12 + \contentsline {subsection}{\numberline {4.2}The crit goes online}{14}{subsection.4.2}% 13 + \contentsline {section}{\numberline {5}Against Neutrality}{15}{section.5}% 14 + \contentsline {section}{\numberline {6}Conclusion}{17}{section.6}% 15 15 \contentsfinish
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papers/arxiv-complex/complex-cards.toc
··· 1 - \contentsline {section}{\numberline {1}The Totalized Environment}{4}{section.1}% 2 - \contentsline {section}{\numberline {2}The Complex}{6}{section.2}% 3 - \contentsline {subsection}{\numberline {2.1}Hegemony}{6}{subsection.2.1}% 4 - \contentsline {subsection}{\numberline {2.2}Behavioral nudging}{6}{subsection.2.2}% 5 - \contentsline {subsection}{\numberline {2.3}Flattening}{7}{subsection.2.3}% 6 - \contentsline {subsection}{\numberline {2.4}The orchestra as organizational power}{8}{subsection.2.4}% 7 - \contentsline {section}{\numberline {3}Critique-as-Art: Pointing at Power}{11}{section.3}% 8 - \contentsline {subsection}{\numberline {3.1}Photographing power}{11}{subsection.3.1}% 9 - \contentsline {subsection}{\numberline {3.2}Analyzing circulation}{12}{subsection.3.2}% 10 - \contentsline {subsection}{\numberline {3.3}Masking the face}{13}{subsection.3.3}% 11 - \contentsline {subsection}{\numberline {3.4}Archiving resistance}{13}{subsection.3.4}% 12 - \contentsline {subsection}{\numberline {3.5}The pipeline}{14}{subsection.3.5}% 13 - \contentsline {section}{\numberline {4}The Structural Trap}{16}{section.4}% 14 - \contentsline {section}{\numberline {5}Free Spaces of Play}{18}{section.5}% 15 - \contentsline {section}{\numberline {6}Two Pedagogies}{20}{section.6}% 16 - \contentsline {subsection}{\numberline {6.1}The art school}{20}{subsection.6.1}% 17 - \contentsline {subsection}{\numberline {6.2}The tech school}{22}{subsection.6.2}% 18 - \contentsline {section}{\numberline {7}Anti-Environments}{24}{section.7}% 19 - \contentsline {subsection}{\numberline {7.1}Radical distribution}{25}{subsection.7.1}% 20 - \contentsline {subsection}{\numberline {7.2}Aesthetic Computer}{25}{subsection.7.2}% 21 - \contentsline {subsection}{\numberline {7.3}Indigenous and decolonial computing}{26}{subsection.7.3}% 22 - \contentsline {subsection}{\numberline {7.4}The key distinction}{27}{subsection.7.4}% 23 - \contentsline {section}{\numberline {8}The Art Fair Paradox}{28}{section.8}% 24 - \contentsline {section}{\numberline {9}Conclusion}{30}{section.9}% 1 + \contentsline {section}{\numberline {1}The Totalized Environment}{5}{section.1}% 2 + \contentsline {section}{\numberline {2}The Complex}{7}{section.2}% 3 + \contentsline {subsection}{\numberline {2.1}Hegemony}{7}{subsection.2.1}% 4 + \contentsline {subsection}{\numberline {2.2}Behavioral nudging}{7}{subsection.2.2}% 5 + \contentsline {subsection}{\numberline {2.3}Flattening}{8}{subsection.2.3}% 6 + \contentsline {subsection}{\numberline {2.4}The orchestra as organizational power}{9}{subsection.2.4}% 7 + \contentsline {section}{\numberline {3}Critique-as-Art: Pointing at Power}{12}{section.3}% 8 + \contentsline {subsection}{\numberline {3.1}Photographing power}{12}{subsection.3.1}% 9 + \contentsline {subsection}{\numberline {3.2}Analyzing circulation}{13}{subsection.3.2}% 10 + \contentsline {subsection}{\numberline {3.3}Masking the face}{14}{subsection.3.3}% 11 + \contentsline {subsection}{\numberline {3.4}Archiving resistance}{14}{subsection.3.4}% 12 + \contentsline {subsection}{\numberline {3.5}The pipeline}{15}{subsection.3.5}% 13 + \contentsline {section}{\numberline {4}The Structural Trap}{17}{section.4}% 14 + \contentsline {section}{\numberline {5}Free Spaces of Play}{19}{section.5}% 15 + \contentsline {section}{\numberline {6}Two Pedagogies}{21}{section.6}% 16 + \contentsline {subsection}{\numberline {6.1}The art school}{21}{subsection.6.1}% 17 + \contentsline {subsection}{\numberline {6.2}The tech school}{23}{subsection.6.2}% 18 + \contentsline {section}{\numberline {7}Anti-Environments}{25}{section.7}% 19 + \contentsline {subsection}{\numberline {7.1}Radical distribution}{26}{subsection.7.1}% 20 + \contentsline {subsection}{\numberline {7.2}Aesthetic Computer}{26}{subsection.7.2}% 21 + \contentsline {subsection}{\numberline {7.3}Indigenous and decolonial computing}{27}{subsection.7.3}% 22 + \contentsline {subsection}{\numberline {7.4}The key distinction}{28}{subsection.7.4}% 23 + \contentsline {section}{\numberline {8}The Art Fair Paradox}{29}{section.8}% 24 + \contentsline {section}{\numberline {9}Conclusion}{31}{section.9}% 25 25 \contentsfinish
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papers/arxiv-dead-ends/dead-ends-cards.toc
··· 1 - \contentsline {section}{\numberline {1}Introduction}{4}{section.1}% 2 - \contentsline {section}{\numberline {2}Platform Fragmentation}{6}{section.2}% 3 - \contentsline {subsection}{\numberline {2.1}The Electron App}{7}{subsection.2.1}% 4 - \contentsline {subsection}{\numberline {2.2}The Android App}{7}{subsection.2.2}% 5 - \contentsline {subsection}{\numberline {2.3}The Feral File Integration}{8}{subsection.2.3}% 6 - \contentsline {subsection}{\numberline {2.4}The Pattern}{9}{subsection.2.4}% 7 - \contentsline {section}{\numberline {3}Infrastructure Over-Engineering}{10}{section.3}% 8 - \contentsline {subsection}{\numberline {3.1}The Jamsocket Session Server}{10}{subsection.3.1}% 9 - \contentsline {subsection}{\numberline {3.2}The Bumper System}{11}{subsection.3.2}% 10 - \contentsline {subsection}{\numberline {3.3}The Silo Migration}{11}{subsection.3.3}% 11 - \contentsline {section}{\numberline {4}Monetization Experiments}{13}{section.4}% 12 - \contentsline {subsection}{\numberline {4.1}Tezos NFTs (Keeps)}{13}{subsection.4.1}% 13 - \contentsline {subsection}{\numberline {4.2}Sotce.net Subscriptions}{14}{subsection.4.2}% 14 - \contentsline {subsection}{\numberline {4.3}Printful Merchandise}{14}{subsection.4.3}% 15 - \contentsline {section}{\numberline {5}Tools Built for One Person}{16}{section.5}% 16 - \contentsline {subsection}{\numberline {5.1}The Tape Recorder}{16}{subsection.5.1}% 17 - \contentsline {subsection}{\numberline {5.2}Windows Container Development}{16}{subsection.5.2}% 18 - \contentsline {subsection}{\numberline {5.3}The \texttt {.pjs} Compiler}{16}{subsection.5.3}% 19 - \contentsline {section}{\numberline {6}Premature Abstractions}{18}{section.6}% 20 - \contentsline {subsection}{\numberline {6.1}Generic Kiosk Mode}{18}{subsection.6.1}% 21 - \contentsline {subsection}{\numberline {6.2}The FFOS Fork}{18}{subsection.6.2}% 22 - \contentsline {section}{\numberline {7}Evolutionary Morphology}{20}{section.7}% 23 - \contentsline {subsection}{\numberline {7.1}What Dormancy Reveals}{21}{subsection.7.1}% 24 - \contentsline {section}{\numberline {8}Conclusion}{23}{section.8}% 1 + \contentsline {section}{\numberline {1}Introduction}{5}{section.1}% 2 + \contentsline {section}{\numberline {2}Platform Fragmentation}{7}{section.2}% 3 + \contentsline {subsection}{\numberline {2.1}The Electron App}{8}{subsection.2.1}% 4 + \contentsline {subsection}{\numberline {2.2}The Android App}{8}{subsection.2.2}% 5 + \contentsline {subsection}{\numberline {2.3}The Feral File Integration}{9}{subsection.2.3}% 6 + \contentsline {subsection}{\numberline {2.4}The Pattern}{10}{subsection.2.4}% 7 + \contentsline {section}{\numberline {3}Infrastructure Over-Engineering}{11}{section.3}% 8 + \contentsline {subsection}{\numberline {3.1}The Jamsocket Session Server}{11}{subsection.3.1}% 9 + \contentsline {subsection}{\numberline {3.2}The Bumper System}{12}{subsection.3.2}% 10 + \contentsline {subsection}{\numberline {3.3}The Silo Migration}{12}{subsection.3.3}% 11 + \contentsline {section}{\numberline {4}Monetization Experiments}{14}{section.4}% 12 + \contentsline {subsection}{\numberline {4.1}Tezos NFTs (Keeps)}{14}{subsection.4.1}% 13 + \contentsline {subsection}{\numberline {4.2}Sotce.net Subscriptions}{15}{subsection.4.2}% 14 + \contentsline {subsection}{\numberline {4.3}Printful Merchandise}{15}{subsection.4.3}% 15 + \contentsline {section}{\numberline {5}Tools Built for One Person}{17}{section.5}% 16 + \contentsline {subsection}{\numberline {5.1}The Tape Recorder}{17}{subsection.5.1}% 17 + \contentsline {subsection}{\numberline {5.2}Windows Container Development}{17}{subsection.5.2}% 18 + \contentsline {subsection}{\numberline {5.3}The \texttt {.pjs} Compiler}{17}{subsection.5.3}% 19 + \contentsline {section}{\numberline {6}Premature Abstractions}{19}{section.6}% 20 + \contentsline {subsection}{\numberline {6.1}Generic Kiosk Mode}{19}{subsection.6.1}% 21 + \contentsline {subsection}{\numberline {6.2}The FFOS Fork}{19}{subsection.6.2}% 22 + \contentsline {section}{\numberline {7}Evolutionary Morphology}{21}{section.7}% 23 + \contentsline {subsection}{\numberline {7.1}What Dormancy Reveals}{22}{subsection.7.1}% 24 + \contentsline {section}{\numberline {8}Conclusion}{24}{section.8}% 25 25 \contentsfinish
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papers/arxiv-folk-songs/folk-songs-cards.toc
··· 3 3 \contentsline {section}{\numberline {3}The Encoding}{7}{section.3}% 4 4 \contentsline {section}{\numberline {4}A Catalog of Playable Melodies}{9}{section.4}% 5 5 \contentsline {subsection}{\numberline {4.1}Pentatonic (5 notes)}{9}{subsection.4.1}% 6 - \contentsline {subsection}{\numberline {4.2}Narrow Range ($<$ octave)}{10}{subsection.4.2}% 6 + \contentsline {subsection}{\numberline {4.2}Narrow Range ($<$ octave)}{9}{subsection.4.2}% 7 7 \contentsline {subsection}{\numberline {4.3}Modal \& Diatonic}{10}{subsection.4.3}% 8 8 \contentsline {section}{\numberline {5}The Folk Process as Version Control}{11}{section.5}% 9 9 \contentsline {section}{\numberline {6}Computational Dimensions}{13}{section.6}%
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papers/arxiv-identity/identity-cards.toc
··· 9 9 \contentsline {subsection}{\numberline {3.2}Handle Verification}{11}{subsection.3.2}% 10 10 \contentsline {subsection}{\numberline {3.3}ATProto OAuth}{12}{subsection.3.3}% 11 11 \contentsline {subsubsection}{\numberline {3.3.1}Client Identification}{13}{subsubsection.3.3.1}% 12 - \contentsline {subsubsection}{\numberline {3.3.2}The Flow}{14}{subsubsection.3.3.2}% 12 + \contentsline {subsubsection}{\numberline {3.3.2}The Flow}{13}{subsubsection.3.3.2}% 13 13 \contentsline {section}{\numberline {4}Case Study: pckt.blog}{15}{section.4}% 14 14 \contentsline {subsection}{\numberline {4.1}Authentication}{15}{subsection.4.1}% 15 15 \contentsline {subsection}{\numberline {4.2}Data Sovereignty}{15}{subsection.4.2}%
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papers/arxiv-kidlisp-cards/kidlisp-cards.log
··· 1 - This is XeTeX, Version 3.141592653-2.6-0.999995 (TeX Live 2023) (preloaded format=xelatex 2026.3.17) 27 MAR 2026 08:30 1 + This is XeTeX, Version 3.141592653-2.6-0.999995 (TeX Live 2023) (preloaded format=xelatex 2026.3.17) 28 MAR 2026 12:36 2 2 entering extended mode 3 3 restricted \write18 enabled. 4 4 %&-line parsing enabled.
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papers/arxiv-kidlisp-reference/kidlisp-reference-cards.toc
··· 2 2 \contentsline {section}{\numberline {2}The 12 Categories}{5}{section.2}% 3 3 \contentsline {subsection}{\numberline {2.1}Graphics (9 functions)}{5}{subsection.2.1}% 4 4 \contentsline {subsection}{\numberline {2.2}Transformations (11 functions)}{6}{subsection.2.2}% 5 - \contentsline {subsection}{\numberline {2.3}Math (14 functions)}{7}{subsection.2.3}% 5 + \contentsline {subsection}{\numberline {2.3}Math (14 functions)}{6}{subsection.2.3}% 6 6 \contentsline {subsection}{\numberline {2.4}Color (19+ named colors)}{7}{subsection.2.4}% 7 7 \contentsline {subsection}{\numberline {2.5}System \& Display (9 functions)}{8}{subsection.2.5}% 8 - \contentsline {subsection}{\numberline {2.6}Control Flow (7 functions)}{9}{subsection.2.6}% 9 - \contentsline {subsection}{\numberline {2.7}Timing}{10}{subsection.2.7}% 10 - \contentsline {subsection}{\numberline {2.8}Text (4 functions)}{11}{subsection.2.8}% 8 + \contentsline {subsection}{\numberline {2.6}Control Flow (7 functions)}{8}{subsection.2.6}% 9 + \contentsline {subsection}{\numberline {2.7}Timing}{9}{subsection.2.7}% 10 + \contentsline {subsection}{\numberline {2.8}Text (4 functions)}{10}{subsection.2.8}% 11 11 \contentsline {subsection}{\numberline {2.9}Input (3 functions)}{11}{subsection.2.9}% 12 12 \contentsline {subsection}{\numberline {2.10}Audio (6 functions)}{11}{subsection.2.10}% 13 - \contentsline {subsection}{\numberline {2.11}3D Graphics (8 functions)}{12}{subsection.2.11}% 13 + \contentsline {subsection}{\numberline {2.11}3D Graphics (8 functions)}{11}{subsection.2.11}% 14 14 \contentsline {subsection}{\numberline {2.12}Composition via \texttt {\$}-Codes}{12}{subsection.2.12}% 15 15 \contentsline {section}{\numberline {3}Evaluation Model}{14}{section.3}% 16 16 \contentsline {subsection}{\numberline {3.1}Deterministic Randomness}{14}{subsection.3.1}%
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papers/arxiv-network-audit/network-audit-cards.toc
··· 1 - \contentsline {section}{\numberline {1}Introduction}{4}{section.1}% 2 - \contentsline {section}{\numberline {2}The Census}{6}{section.2}% 3 - \contentsline {subsection}{\numberline {2.1}Creator/Consumer Ratio}{7}{subsection.2.1}% 4 - \contentsline {section}{\numberline {3}Geographic Distribution}{9}{section.3}% 5 - \contentsline {subsection}{\numberline {3.1}What the Headers Show}{9}{subsection.3.1}% 6 - \contentsline {subsection}{\numberline {3.2}What the Headers Don't Show}{10}{subsection.3.2}% 7 - \contentsline {section}{\numberline {4}Creative Output Analysis}{11}{section.4}% 8 - \contentsline {subsection}{\numberline {4.1}KidLisp Function Adoption}{11}{subsection.4.1}% 9 - \contentsline {subsection}{\numberline {4.2}The \$-Code Composition Graph}{12}{subsection.4.2}% 10 - \contentsline {section}{\numberline {5}Social Topology}{14}{section.5}% 11 - \contentsline {subsection}{\numberline {5.1}Chat}{14}{subsection.5.1}% 12 - \contentsline {subsection}{\numberline {5.2}Moods}{14}{subsection.5.2}% 13 - \contentsline {subsection}{\numberline {5.3}The Handle as Identity}{14}{subsection.5.3}% 14 - \contentsline {section}{\numberline {6}What We Cannot Measure}{16}{section.6}% 15 - \contentsline {section}{\numberline {7}Toward Measurement}{18}{section.7}% 16 - \contentsline {section}{\numberline {8}Conclusion}{19}{section.8}% 1 + \contentsline {section}{\numberline {1}Introduction}{5}{section.1}% 2 + \contentsline {section}{\numberline {2}The Census}{7}{section.2}% 3 + \contentsline {subsection}{\numberline {2.1}Creator/Consumer Ratio}{8}{subsection.2.1}% 4 + \contentsline {section}{\numberline {3}Geographic Distribution}{10}{section.3}% 5 + \contentsline {subsection}{\numberline {3.1}What the Headers Show}{10}{subsection.3.1}% 6 + \contentsline {subsection}{\numberline {3.2}What the Headers Don't Show}{11}{subsection.3.2}% 7 + \contentsline {section}{\numberline {4}Creative Output Analysis}{12}{section.4}% 8 + \contentsline {subsection}{\numberline {4.1}KidLisp Function Adoption}{12}{subsection.4.1}% 9 + \contentsline {subsection}{\numberline {4.2}The \$-Code Composition Graph}{13}{subsection.4.2}% 10 + \contentsline {section}{\numberline {5}Social Topology}{15}{section.5}% 11 + \contentsline {subsection}{\numberline {5.1}Chat}{15}{subsection.5.1}% 12 + \contentsline {subsection}{\numberline {5.2}Moods}{15}{subsection.5.2}% 13 + \contentsline {subsection}{\numberline {5.3}The Handle as Identity}{15}{subsection.5.3}% 14 + \contentsline {section}{\numberline {6}What We Cannot Measure}{17}{section.6}% 15 + \contentsline {section}{\numberline {7}Toward Measurement}{19}{section.7}% 16 + \contentsline {section}{\numberline {8}Conclusion}{20}{section.8}% 17 17 \contentsfinish
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papers/arxiv-pieces/pieces-cards.toc
··· 1 - \contentsline {section}{\numberline {1}Introduction}{4}{section.1}% 2 - \contentsline {section}{\numberline {2}Genealogy of Creative Units}{6}{section.2}% 3 - \contentsline {subsection}{\numberline {2.1}The musical piece}{6}{subsection.2.1}% 4 - \contentsline {subsection}{\numberline {2.2}The Processing sketch}{7}{subsection.2.2}% 5 - \contentsline {subsection}{\numberline {2.3}The Max/MSP patch}{7}{subsection.2.3}% 6 - \contentsline {subsection}{\numberline {2.4}The Unix process}{8}{subsection.2.4}% 7 - \contentsline {subsection}{\numberline {2.5}The Smalltalk image and Jupyter notebook}{9}{subsection.2.5}% 8 - \contentsline {section}{\numberline {3}What AC Pieces Are}{10}{section.3}% 9 - \contentsline {subsection}{\numberline {3.1}URL addressability}{10}{subsection.3.1}% 10 - \contentsline {subsection}{\numberline {3.2}The immediate-mode rendering model}{11}{subsection.3.2}% 11 - \contentsline {subsection}{\numberline {3.3}Authorship and iteration}{12}{subsection.3.3}% 12 - \contentsline {section}{\numberline {4}The Piece as Cognitive Extension}{14}{section.4}% 13 - \contentsline {subsection}{\numberline {4.1}The named path as mnemonic}{15}{subsection.4.1}% 14 - \contentsline {section}{\numberline {5}Pieces vs.\ Programs: A Comparison}{16}{section.5}% 15 - \contentsline {section}{\numberline {6}Implications for Platform Design}{17}{section.6}% 16 - \contentsline {section}{\numberline {7}Conclusion}{19}{section.7}% 1 + \contentsline {section}{\numberline {1}Introduction}{5}{section.1}% 2 + \contentsline {section}{\numberline {2}Genealogy of Creative Units}{7}{section.2}% 3 + \contentsline {subsection}{\numberline {2.1}The musical piece}{7}{subsection.2.1}% 4 + \contentsline {subsection}{\numberline {2.2}The Processing sketch}{8}{subsection.2.2}% 5 + \contentsline {subsection}{\numberline {2.3}The Max/MSP patch}{8}{subsection.2.3}% 6 + \contentsline {subsection}{\numberline {2.4}The Unix process}{9}{subsection.2.4}% 7 + \contentsline {subsection}{\numberline {2.5}The Smalltalk image and Jupyter notebook}{10}{subsection.2.5}% 8 + \contentsline {section}{\numberline {3}What AC Pieces Are}{11}{section.3}% 9 + \contentsline {subsection}{\numberline {3.1}URL addressability}{11}{subsection.3.1}% 10 + \contentsline {subsection}{\numberline {3.2}The immediate-mode rendering model}{12}{subsection.3.2}% 11 + \contentsline {subsection}{\numberline {3.3}Authorship and iteration}{13}{subsection.3.3}% 12 + \contentsline {section}{\numberline {4}The Piece as Cognitive Extension}{15}{section.4}% 13 + \contentsline {subsection}{\numberline {4.1}The named path as mnemonic}{16}{subsection.4.1}% 14 + \contentsline {section}{\numberline {5}Pieces vs.\ Programs: A Comparison}{17}{section.5}% 15 + \contentsline {section}{\numberline {6}Implications for Platform Design}{18}{section.6}% 16 + \contentsline {section}{\numberline {7}Conclusion}{20}{section.7}% 17 17 \contentsfinish
+13 -13
papers/arxiv-sustainability/sustainability-cards.toc
··· 1 - \contentsline {section}{\numberline {1}Introduction}{3}{section.1}% 2 - \contentsline {section}{\numberline {2}The Five Models}{5}{section.2}% 3 - \contentsline {subsection}{\numberline {2.1}Academic Subsidy}{5}{subsection.2.1}% 4 - \contentsline {subsection}{\numberline {2.2}Corporate Patronage}{6}{subsection.2.2}% 5 - \contentsline {subsection}{\numberline {2.3}Personal Sacrifice}{8}{subsection.2.3}% 6 - \contentsline {subsection}{\numberline {2.4}Community Crowdfunding}{9}{subsection.2.4}% 7 - \contentsline {subsection}{\numberline {2.5}Windfall}{10}{subsection.2.5}% 8 - \contentsline {subsection}{\numberline {2.6}No Model At All}{10}{subsection.2.6}% 9 - \contentsline {section}{\numberline {3}The Gap}{13}{section.3}% 10 - \contentsline {section}{\numberline {4}The Erasure Problem}{14}{section.4}% 11 - \contentsline {section}{\numberline {5}The Author's Position}{16}{section.5}% 12 - \contentsline {section}{\numberline {6}What Would Work}{19}{section.6}% 13 - \contentsline {section}{\numberline {7}Conclusion}{21}{section.7}% 1 + \contentsline {section}{\numberline {1}Introduction}{4}{section.1}% 2 + \contentsline {section}{\numberline {2}The Five Models}{6}{section.2}% 3 + \contentsline {subsection}{\numberline {2.1}Academic Subsidy}{6}{subsection.2.1}% 4 + \contentsline {subsection}{\numberline {2.2}Corporate Patronage}{7}{subsection.2.2}% 5 + \contentsline {subsection}{\numberline {2.3}Personal Sacrifice}{9}{subsection.2.3}% 6 + \contentsline {subsection}{\numberline {2.4}Community Crowdfunding}{10}{subsection.2.4}% 7 + \contentsline {subsection}{\numberline {2.5}Windfall}{11}{subsection.2.5}% 8 + \contentsline {subsection}{\numberline {2.6}No Model At All}{11}{subsection.2.6}% 9 + \contentsline {section}{\numberline {3}The Gap}{14}{section.3}% 10 + \contentsline {section}{\numberline {4}The Erasure Problem}{15}{section.4}% 11 + \contentsline {section}{\numberline {5}The Author's Position}{17}{section.5}% 12 + \contentsline {section}{\numberline {6}What Would Work}{20}{section.6}% 13 + \contentsline {section}{\numberline {7}Conclusion}{22}{section.7}% 14 14 \contentsfinish
+22 -21
papers/arxiv-ucla-arts/ucla-arts-cards.toc
··· 1 - \contentsline {section}{\numberline {1}Introduction}{4}{section.1}% 2 - \contentsline {section}{\numberline {2}Two Departments}{6}{section.2}% 3 - \contentsline {subsection}{\numberline {2.1}Art (1939--)}{6}{subsection.2.1}% 4 - \contentsline {subsection}{\numberline {2.2}Design\nobreakspace {}|\nobreakspace {}Media Arts (1988--)}{7}{subsection.2.2}% 5 - \contentsline {subsection}{\numberline {2.3}Same Building, Different Worlds}{7}{subsection.2.3}% 6 - \contentsline {section}{\numberline {3}How Art Gets Funded}{9}{section.3}% 7 - \contentsline {subsection}{\numberline {3.1}The Leavin Gift}{9}{subsection.3.1}% 8 - \contentsline {subsection}{\numberline {3.2}The Resnick Endowment}{10}{subsection.3.2}% 9 - \contentsline {subsection}{\numberline {3.3}The Pattern}{10}{subsection.3.3}% 10 - \contentsline {section}{\numberline {4}How DMA Gets Funded}{12}{section.4}% 11 - \contentsline {subsection}{\numberline {4.1}Research Grants}{12}{subsection.4.1}% 12 - \contentsline {subsection}{\numberline {4.2}Six Initiatives, Six Directors}{13}{subsection.4.2}% 13 - \contentsline {subsection}{\numberline {4.3}The Processing Foundation}{14}{subsection.4.3}% 14 - \contentsline {subsection}{\numberline {4.4}The Invisible Subsidy}{15}{subsection.4.4}% 15 - \contentsline {section}{\numberline {5}What the Art Market Funds vs.\ What Grants Fund}{17}{section.5}% 16 - \contentsline {section}{\numberline {6}Administration}{19}{section.6}% 17 - \contentsline {subsection}{\numberline {6.1}School-Level Governance}{19}{subsection.6.1}% 18 - \contentsline {subsection}{\numberline {6.2}Faculty Lines}{19}{subsection.6.2}% 19 - \contentsline {subsection}{\numberline {6.3}Graduate Funding}{20}{subsection.6.3}% 20 - \contentsline {section}{\numberline {7}Implications for \textsc {Aesthetic.Computer}{}}{21}{section.7}% 21 - \contentsline {section}{\numberline {8}Conclusion}{23}{section.8}% 1 + \contentsline {section}{\numberline {1}Introduction}{5}{section.1}% 2 + \contentsline {section}{\numberline {2}Two Departments}{8}{section.2}% 3 + \contentsline {subsection}{\numberline {2.1}Art (1939--)}{8}{subsection.2.1}% 4 + \contentsline {subsection}{\numberline {2.2}Design\nobreakspace {}|\nobreakspace {}Media Arts (1988--)}{9}{subsection.2.2}% 5 + \contentsline {subsection}{\numberline {2.3}Same Building, Different Worlds}{10}{subsection.2.3}% 6 + \contentsline {section}{\numberline {3}How Art Gets Funded}{12}{section.3}% 7 + \contentsline {subsection}{\numberline {3.1}The Leavin Gift}{12}{subsection.3.1}% 8 + \contentsline {subsection}{\numberline {3.2}The Resnick Endowment}{13}{subsection.3.2}% 9 + \contentsline {subsection}{\numberline {3.3}The Pattern}{13}{subsection.3.3}% 10 + \contentsline {section}{\numberline {4}How DMA Gets Funded}{15}{section.4}% 11 + \contentsline {subsection}{\numberline {4.1}Research Grants}{15}{subsection.4.1}% 12 + \contentsline {subsection}{\numberline {4.2}Six Initiatives, Six Directors}{16}{subsection.4.2}% 13 + \contentsline {subsection}{\numberline {4.3}The Processing Foundation}{17}{subsection.4.3}% 14 + \contentsline {section}{\numberline {5}Objects vs.\ Tools}{19}{section.5}% 15 + \contentsline {section}{\numberline {6}Administration}{21}{section.6}% 16 + \contentsline {subsection}{\numberline {6.1}School-Level Governance}{21}{subsection.6.1}% 17 + \contentsline {subsection}{\numberline {6.2}Faculty Lines}{21}{subsection.6.2}% 18 + \contentsline {subsection}{\numberline {6.3}Graduate Funding}{22}{subsection.6.3}% 19 + \contentsline {section}{\numberline {7}Discussion}{23}{section.7}% 20 + \contentsline {subsection}{\numberline {7.1}The Foundation Governance Crisis}{24}{subsection.7.1}% 21 + \contentsline {subsection}{\numberline {7.2}Outside the University}{26}{subsection.7.2}% 22 + \contentsline {section}{\numberline {8}Conclusion}{27}{section.8}% 22 23 \contentsfinish
system/public/papers.aesthetic.computer/ucla-arts-funding-26-arxiv-cards.pdf

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