+197

papers/BUILDLOG.md

reviewed

··· 1495 1495 - Handle Identity on the AT Protocol [cards] → handle-identity-atproto-26-arxiv-cards.pdf 1496 1496 - Two Departments, One Building [en] → ucla-arts-funding-26-arxiv.pdf 1497 1497 - Two Departments, One Building [cards] → ucla-arts-funding-26-arxiv-cards.pdf 1498 1498 + 1499 1499 + ## 2026-04-06 01:43 1500 1500 + 1501 1501 + Built: 1502 1502 + - Aesthetic Computer '26 [da] → aesthetic-computer-26-arxiv-da.pdf 1503 1503 + - Aesthetic Computer '26 [es] → aesthetic-computer-26-arxiv-es.pdf 1504 1504 + - Aesthetic Computer '26 [zh] → aesthetic-computer-26-arxiv-zh.pdf 1505 1505 + - Aesthetic Computer '26 [cards] → aesthetic-computer-26-arxiv-cards.pdf 1506 1506 + - From setup() to boot() [da] → piece-api-26-arxiv-da.pdf 1507 1507 + - From setup() to boot() [zh] → piece-api-26-arxiv-zh.pdf 1508 1508 + - From setup() to boot() [cards] → piece-api-26-arxiv-cards.pdf 1509 1509 + - Repository Archaeology [da] → repo-archaeology-26-arxiv-da.pdf 1510 1510 + - Repository Archaeology [es] → repo-archaeology-26-arxiv-es.pdf 1511 1511 + - Repository Archaeology [zh] → repo-archaeology-26-arxiv-zh.pdf 1512 1512 + - Repository Archaeology [cards] → repo-archaeology-26-arxiv-cards.pdf 1513 1513 + - Vestigial Features [zh] → dead-ends-26-arxiv-zh.pdf 1514 1514 + - Vestigial Features [cards] → dead-ends-26-arxiv-cards.pdf 1515 1515 + - Citation Diversity Audit [en] → citation-diversity-audit-26.pdf 1516 1516 + - Citation Diversity Audit [zh] → citation-diversity-audit-26-zh.pdf 1517 1517 + - Citation Diversity Audit [cards] → citation-diversity-audit-26-cards.pdf 1518 1518 + - Radical Computer Art [en] → radical-computer-art-26-arxiv.pdf 1519 1519 + - Radical Computer Art [da] → radical-computer-art-26-arxiv-da.pdf 1520 1520 + - Radical Computer Art [es] → radical-computer-art-26-arxiv-es.pdf 1521 1521 + - Radical Computer Art [zh] → radical-computer-art-26-arxiv-zh.pdf 1522 1522 + - Radical Computer Art [cards] → radical-computer-art-26-arxiv-cards.pdf 1523 1523 + - KidLisp '26 [en] → kidlisp-26-arxiv.pdf 1524 1524 + - KidLisp '26 [da] → kidlisp-26-arxiv-da.pdf 1525 1525 + - KidLisp '26 [es] → kidlisp-26-arxiv-es.pdf 1526 1526 + - KidLisp '26 [zh] → kidlisp-26-arxiv-zh.pdf 1527 1527 + - KidLisp '26 [cards] → kidlisp-26-arxiv-cards.pdf 1528 1528 + - KidLisp Language Reference [zh] → kidlisp-reference-26-arxiv-zh.pdf 1529 1529 + - KidLisp Language Reference [cards] → kidlisp-reference-26-arxiv-cards.pdf 1530 1530 + - Network Audit [zh] → network-audit-26-arxiv-zh.pdf 1531 1531 + - Network Audit [cards] → network-audit-26-arxiv-cards.pdf 1532 1532 + - notepat.com [en] → notepat-26-arxiv.pdf 1533 1533 + - notepat.com [da] → notepat-26-arxiv-da.pdf 1534 1534 + - notepat.com [es] → notepat-26-arxiv-es.pdf 1535 1535 + - notepat.com [zh] → notepat-26-arxiv-zh.pdf 1536 1536 + - notepat.com [cards] → notepat-26-arxiv-cards.pdf 1537 1537 + - AC Native OS [en] → ac-native-os-26-arxiv.pdf 1538 1538 + - AC Native OS [da] → ac-native-os-26-arxiv-da.pdf 1539 1539 + - AC Native OS [es] → ac-native-os-26-arxiv-es.pdf 1540 1540 + - AC Native OS [zh] → ac-native-os-26-arxiv-zh.pdf 1541 1541 + - AC Native OS [cards] → ac-native-os-26-arxiv-cards.pdf 1542 1542 + - Pieces Not Programs [en] → pieces-not-programs-26-arxiv.pdf 1543 1543 + - Pieces Not Programs [da] → pieces-not-programs-26-arxiv-da.pdf 1544 1544 + - Pieces Not Programs [es] → pieces-not-programs-26-arxiv-es.pdf 1545 1545 + - Pieces Not Programs [zh] → pieces-not-programs-26-arxiv-zh.pdf 1546 1546 + - Pieces Not Programs [cards] → pieces-not-programs-26-arxiv-cards.pdf 1547 1547 + - Who Pays for Creative Tools? [es] → who-pays-for-creative-tools-26-arxiv-es.pdf 1548 1548 + - Who Pays for Creative Tools? [zh] → who-pays-for-creative-tools-26-arxiv-zh.pdf 1549 1549 + - Who Pays for Creative Tools? [cards] → who-pays-for-creative-tools-26-arxiv-cards.pdf 1550 1550 + - Whistlegraph [en] → whistlegraph-26-arxiv.pdf 1551 1551 + - Whistlegraph [es] → whistlegraph-26-arxiv-es.pdf 1552 1552 + - Whistlegraph [zh] → whistlegraph-26-arxiv-zh.pdf 1553 1553 + - Whistlegraph [cards] → whistlegraph-26-arxiv-cards.pdf 1554 1554 + - PLOrk'ing the Planet [en] → plorking-the-planet-26-arxiv.pdf 1555 1555 + - PLOrk'ing the Planet [da] → plorking-the-planet-26-arxiv-da.pdf 1556 1556 + - PLOrk'ing the Planet [es] → plorking-the-planet-26-arxiv-es.pdf 1557 1557 + - PLOrk'ing the Planet [zh] → plorking-the-planet-26-arxiv-zh.pdf 1558 1558 + - PLOrk'ing the Planet [cards] → plorking-the-planet-26-arxiv-cards.pdf 1559 1559 + - Playable Folk Songs [en] → folk-songs-26-arxiv.pdf 1560 1560 + - Playable Folk Songs [da] → folk-songs-26-arxiv-da.pdf 1561 1561 + - Playable Folk Songs [es] → folk-songs-26-arxiv-es.pdf 1562 1562 + - Playable Folk Songs [zh] → folk-songs-26-arxiv-zh.pdf 1563 1563 + - Playable Folk Songs [cards] → folk-songs-26-arxiv-cards.pdf 1564 1564 + - Sucking on the Complex [en] → sucking-on-the-complex-26-arxiv.pdf 1565 1565 + - Sucking on the Complex [da] → sucking-on-the-complex-26-arxiv-da.pdf 1566 1566 + - Sucking on the Complex [es] → sucking-on-the-complex-26-arxiv-es.pdf 1567 1567 + - Sucking on the Complex [zh] → sucking-on-the-complex-26-arxiv-zh.pdf 1568 1568 + - Sucking on the Complex [cards] → sucking-on-the-complex-26-arxiv-cards.pdf 1569 1569 + - KidLisp Cards [en] → kidlisp-cards-26-arxiv.pdf 1570 1570 + - KidLisp Cards [da] → kidlisp-cards-26-arxiv-da.pdf 1571 1571 + - KidLisp Cards [es] → kidlisp-cards-26-arxiv-es.pdf 1572 1572 + - KidLisp Cards [zh] → kidlisp-cards-26-arxiv-zh.pdf 1573 1573 + - KidLisp Cards [cards] → kidlisp-cards-26-arxiv-cards.pdf 1574 1574 + - Reading the Score [en] → reading-the-score-26-arxiv.pdf 1575 1575 + - Reading the Score [da] → reading-the-score-26-arxiv-da.pdf 1576 1576 + - Reading the Score [es] → reading-the-score-26-arxiv-es.pdf 1577 1577 + - Reading the Score [zh] → reading-the-score-26-arxiv-zh.pdf 1578 1578 + - Reading the Score [cards] → reading-the-score-26-arxiv-cards.pdf 1579 1579 + - CalArts, Callouts, and Papers [en] → calarts-callouts-papers-26-arxiv.pdf 1580 1580 + - CalArts, Callouts, and Papers [da] → calarts-callouts-papers-26-arxiv-da.pdf 1581 1581 + - CalArts, Callouts, and Papers [es] → calarts-callouts-papers-26-arxiv-es.pdf 1582 1582 + - CalArts, Callouts, and Papers [zh] → calarts-callouts-papers-26-arxiv-zh.pdf 1583 1583 + - CalArts, Callouts, and Papers [cards] → calarts-callouts-papers-26-arxiv-cards.pdf 1584 1584 + - Get Closed Source Out of Schools [en] → open-schools-26-arxiv.pdf 1585 1585 + - Get Closed Source Out of Schools [da] → open-schools-26-arxiv-da.pdf 1586 1586 + - Get Closed Source Out of Schools [es] → open-schools-26-arxiv-es.pdf 1587 1587 + - Get Closed Source Out of Schools [zh] → open-schools-26-arxiv-zh.pdf 1588 1588 + - Get Closed Source Out of Schools [cards] → open-schools-26-arxiv-cards.pdf 1589 1589 + - Five Years from Now [en] → five-years-from-now-26-arxiv.pdf 1590 1590 + - Five Years from Now [da] → five-years-from-now-26-arxiv-da.pdf 1591 1591 + - Five Years from Now [es] → five-years-from-now-26-arxiv-es.pdf 1592 1592 + - Five Years from Now [zh] → five-years-from-now-26-arxiv-zh.pdf 1593 1593 + - Five Years from Now [cards] → five-years-from-now-26-arxiv-cards.pdf 1594 1594 + - Handle Identity on the AT Protocol [en] → handle-identity-atproto-26-arxiv.pdf 1595 1595 + - Handle Identity on the AT Protocol [da] → handle-identity-atproto-26-arxiv-da.pdf 1596 1596 + - Handle Identity on the AT Protocol [es] → handle-identity-atproto-26-arxiv-es.pdf 1597 1597 + - Handle Identity on the AT Protocol [zh] → handle-identity-atproto-26-arxiv-zh.pdf 1598 1598 + - Handle Identity on the AT Protocol [cards] → handle-identity-atproto-26-arxiv-cards.pdf 1599 1599 + - Two Departments, One Building [en] → ucla-arts-funding-26-arxiv.pdf 1600 1600 + - Two Departments, One Building [da] → ucla-arts-funding-26-arxiv-da.pdf 1601 1601 + - Two Departments, One Building [es] → ucla-arts-funding-26-arxiv-es.pdf 1602 1602 + - Two Departments, One Building [zh] → ucla-arts-funding-26-arxiv-zh.pdf 1603 1603 + - Two Departments, One Building [cards] → ucla-arts-funding-26-arxiv-cards.pdf 1604 1604 + 1605 1605 + ## 2026-04-06 01:44 1606 1606 + 1607 1607 + Built: 1608 1608 + - Citation Diversity Audit [cards] → citation-diversity-audit-26-cards.pdf 1609 1609 + - Radical Computer Art [en] → radical-computer-art-26-arxiv.pdf 1610 1610 + - Radical Computer Art [da] → radical-computer-art-26-arxiv-da.pdf 1611 1611 + - Radical Computer Art [es] → radical-computer-art-26-arxiv-es.pdf 1612 1612 + - Radical Computer Art [zh] → radical-computer-art-26-arxiv-zh.pdf 1613 1613 + - Radical Computer Art [cards] → radical-computer-art-26-arxiv-cards.pdf 1614 1614 + - KidLisp '26 [en] → kidlisp-26-arxiv.pdf 1615 1615 + - KidLisp '26 [da] → kidlisp-26-arxiv-da.pdf 1616 1616 + - KidLisp '26 [es] → kidlisp-26-arxiv-es.pdf 1617 1617 + - KidLisp '26 [zh] → kidlisp-26-arxiv-zh.pdf 1618 1618 + - KidLisp '26 [cards] → kidlisp-26-arxiv-cards.pdf 1619 1619 + - KidLisp Language Reference [zh] → kidlisp-reference-26-arxiv-zh.pdf 1620 1620 + - KidLisp Language Reference [cards] → kidlisp-reference-26-arxiv-cards.pdf 1621 1621 + - Network Audit [zh] → network-audit-26-arxiv-zh.pdf 1622 1622 + - Network Audit [cards] → network-audit-26-arxiv-cards.pdf 1623 1623 + - notepat.com [en] → notepat-26-arxiv.pdf 1624 1624 + - notepat.com [da] → notepat-26-arxiv-da.pdf 1625 1625 + - notepat.com [es] → notepat-26-arxiv-es.pdf 1626 1626 + - notepat.com [zh] → notepat-26-arxiv-zh.pdf 1627 1627 + - notepat.com [cards] → notepat-26-arxiv-cards.pdf 1628 1628 + - AC Native OS [en] → ac-native-os-26-arxiv.pdf 1629 1629 + - AC Native OS [da] → ac-native-os-26-arxiv-da.pdf 1630 1630 + - AC Native OS [es] → ac-native-os-26-arxiv-es.pdf 1631 1631 + - AC Native OS [zh] → ac-native-os-26-arxiv-zh.pdf 1632 1632 + - AC Native OS [cards] → ac-native-os-26-arxiv-cards.pdf 1633 1633 + - Pieces Not Programs [en] → pieces-not-programs-26-arxiv.pdf 1634 1634 + - Pieces Not Programs [da] → pieces-not-programs-26-arxiv-da.pdf 1635 1635 + - Pieces Not Programs [es] → pieces-not-programs-26-arxiv-es.pdf 1636 1636 + - Pieces Not Programs [zh] → pieces-not-programs-26-arxiv-zh.pdf 1637 1637 + - Pieces Not Programs [cards] → pieces-not-programs-26-arxiv-cards.pdf 1638 1638 + - Who Pays for Creative Tools? [es] → who-pays-for-creative-tools-26-arxiv-es.pdf 1639 1639 + - Who Pays for Creative Tools? [zh] → who-pays-for-creative-tools-26-arxiv-zh.pdf 1640 1640 + - Who Pays for Creative Tools? [cards] → who-pays-for-creative-tools-26-arxiv-cards.pdf 1641 1641 + - Whistlegraph [en] → whistlegraph-26-arxiv.pdf 1642 1642 + - Whistlegraph [es] → whistlegraph-26-arxiv-es.pdf 1643 1643 + - Whistlegraph [zh] → whistlegraph-26-arxiv-zh.pdf 1644 1644 + - Whistlegraph [cards] → whistlegraph-26-arxiv-cards.pdf 1645 1645 + - PLOrk'ing the Planet [en] → plorking-the-planet-26-arxiv.pdf 1646 1646 + - PLOrk'ing the Planet [da] → plorking-the-planet-26-arxiv-da.pdf 1647 1647 + - PLOrk'ing the Planet [es] → plorking-the-planet-26-arxiv-es.pdf 1648 1648 + - PLOrk'ing the Planet [zh] → plorking-the-planet-26-arxiv-zh.pdf 1649 1649 + - PLOrk'ing the Planet [cards] → plorking-the-planet-26-arxiv-cards.pdf 1650 1650 + - Playable Folk Songs [en] → folk-songs-26-arxiv.pdf 1651 1651 + - Playable Folk Songs [da] → folk-songs-26-arxiv-da.pdf 1652 1652 + - Playable Folk Songs [es] → folk-songs-26-arxiv-es.pdf 1653 1653 + - Playable Folk Songs [zh] → folk-songs-26-arxiv-zh.pdf 1654 1654 + - Playable Folk Songs [cards] → folk-songs-26-arxiv-cards.pdf 1655 1655 + - Sucking on the Complex [en] → sucking-on-the-complex-26-arxiv.pdf 1656 1656 + - Sucking on the Complex [da] → sucking-on-the-complex-26-arxiv-da.pdf 1657 1657 + - Sucking on the Complex [es] → sucking-on-the-complex-26-arxiv-es.pdf 1658 1658 + - Sucking on the Complex [zh] → sucking-on-the-complex-26-arxiv-zh.pdf 1659 1659 + - Sucking on the Complex [cards] → sucking-on-the-complex-26-arxiv-cards.pdf 1660 1660 + - KidLisp Cards [en] → kidlisp-cards-26-arxiv.pdf 1661 1661 + - KidLisp Cards [da] → kidlisp-cards-26-arxiv-da.pdf 1662 1662 + - KidLisp Cards [es] → kidlisp-cards-26-arxiv-es.pdf 1663 1663 + - KidLisp Cards [zh] → kidlisp-cards-26-arxiv-zh.pdf 1664 1664 + - KidLisp Cards [cards] → kidlisp-cards-26-arxiv-cards.pdf 1665 1665 + - Reading the Score [en] → reading-the-score-26-arxiv.pdf 1666 1666 + - Reading the Score [da] → reading-the-score-26-arxiv-da.pdf 1667 1667 + - Reading the Score [es] → reading-the-score-26-arxiv-es.pdf 1668 1668 + - Reading the Score [zh] → reading-the-score-26-arxiv-zh.pdf 1669 1669 + - Reading the Score [cards] → reading-the-score-26-arxiv-cards.pdf 1670 1670 + - CalArts, Callouts, and Papers [en] → calarts-callouts-papers-26-arxiv.pdf 1671 1671 + - CalArts, Callouts, and Papers [da] → calarts-callouts-papers-26-arxiv-da.pdf 1672 1672 + - CalArts, Callouts, and Papers [es] → calarts-callouts-papers-26-arxiv-es.pdf 1673 1673 + - CalArts, Callouts, and Papers [zh] → calarts-callouts-papers-26-arxiv-zh.pdf 1674 1674 + - CalArts, Callouts, and Papers [cards] → calarts-callouts-papers-26-arxiv-cards.pdf 1675 1675 + - Get Closed Source Out of Schools [en] → open-schools-26-arxiv.pdf 1676 1676 + - Get Closed Source Out of Schools [da] → open-schools-26-arxiv-da.pdf 1677 1677 + - Get Closed Source Out of Schools [es] → open-schools-26-arxiv-es.pdf 1678 1678 + - Get Closed Source Out of Schools [zh] → open-schools-26-arxiv-zh.pdf 1679 1679 + - Get Closed Source Out of Schools [cards] → open-schools-26-arxiv-cards.pdf 1680 1680 + - Five Years from Now [en] → five-years-from-now-26-arxiv.pdf 1681 1681 + - Five Years from Now [da] → five-years-from-now-26-arxiv-da.pdf 1682 1682 + - Five Years from Now [es] → five-years-from-now-26-arxiv-es.pdf 1683 1683 + - Five Years from Now [zh] → five-years-from-now-26-arxiv-zh.pdf 1684 1684 + - Five Years from Now [cards] → five-years-from-now-26-arxiv-cards.pdf 1685 1685 + - Handle Identity on the AT Protocol [en] → handle-identity-atproto-26-arxiv.pdf 1686 1686 + - Handle Identity on the AT Protocol [da] → handle-identity-atproto-26-arxiv-da.pdf 1687 1687 + - Handle Identity on the AT Protocol [es] → handle-identity-atproto-26-arxiv-es.pdf 1688 1688 + - Handle Identity on the AT Protocol [zh] → handle-identity-atproto-26-arxiv-zh.pdf 1689 1689 + - Handle Identity on the AT Protocol [cards] → handle-identity-atproto-26-arxiv-cards.pdf 1690 1690 + - Two Departments, One Building [en] → ucla-arts-funding-26-arxiv.pdf 1691 1691 + - Two Departments, One Building [da] → ucla-arts-funding-26-arxiv-da.pdf 1692 1692 + - Two Departments, One Building [es] → ucla-arts-funding-26-arxiv-es.pdf 1693 1693 + - Two Departments, One Building [zh] → ucla-arts-funding-26-arxiv-zh.pdf 1694 1694 + - Two Departments, One Building [cards] → ucla-arts-funding-26-arxiv-cards.pdf

+342

papers/arxiv-holden/holden.tex

reviewed

··· 1 1 + % !TEX program = xelatex 2 2 + \documentclass[10pt,letterpaper,twocolumn]{article} 3 3 + 4 4 + % === GEOMETRY === 5 5 + \usepackage[top=0.75in, bottom=0.75in, left=0.75in, right=0.75in]{geometry} 6 6 + 7 7 + % === FONTS === 8 8 + \usepackage{fontspec} 9 9 + \usepackage{unicode-math} 10 10 + \setmainfont{Latin Modern Roman} 11 11 + \setsansfont{Latin Modern Sans} 12 12 + \setmonofont{Latin Modern Mono}[Scale=0.85] 13 13 + \newfontfamily\acbold{ywft-processing-bold}[ 14 14 + Path=../../system/public/type/webfonts/, 15 15 + Extension=.ttf 16 16 + ] 17 17 + \newfontfamily\aclight{ywft-processing-light}[ 18 18 + Path=../../system/public/type/webfonts/, 19 19 + Extension=.ttf 20 20 + ] 21 21 + 22 22 + % === PACKAGES === 23 23 + \usepackage{xcolor} 24 24 + \usepackage{titlesec} 25 25 + \usepackage{enumitem} 26 26 + \usepackage{booktabs} 27 27 + \usepackage{tabularx} 28 28 + \usepackage{fancyhdr} 29 29 + \usepackage{hyperref} 30 30 + \usepackage{graphicx} 31 31 + \usepackage{ragged2e} 32 32 + \usepackage{microtype} 33 33 + \usepackage{natbib} 34 34 + \usepackage[colorspec=0.92]{draftwatermark} 35 35 + 36 36 + % === COLORS === 37 37 + \definecolor{acpink}{RGB}{180,72,135} 38 38 + \definecolor{acpurple}{RGB}{120,80,180} 39 39 + \definecolor{acdark}{RGB}{64,56,74} 40 40 + \definecolor{acgray}{RGB}{119,119,119} 41 41 + \definecolor{draftcolor}{RGB}{180,72,135} 42 42 + 43 43 + % === DRAFT WATERMARK === 44 44 + \DraftwatermarkOptions{ 45 45 + text=WORKING DRAFT, 46 46 + fontsize=3cm, 47 47 + color=draftcolor!18, 48 48 + angle=45, 49 49 + pos={0.5\paperwidth, 0.5\paperheight} 50 50 + } 51 51 + 52 52 + % === HYPERREF === 53 53 + \hypersetup{ 54 54 + colorlinks=true, 55 55 + linkcolor=acpurple, 56 56 + urlcolor=acpurple, 57 57 + citecolor=acpurple, 58 58 + pdfauthor={@jeffrey}, 59 59 + pdftitle={The Potter and the Prompt: John Holden's Proto-Cognitive Music Theory and Aesthetic Computer}, 60 60 + } 61 61 + 62 62 + % === SECTION FORMATTING === 63 63 + \titleformat{\section} 64 64 + {\normalfont\bfseries\normalsize\uppercase} 65 65 + {\thesection.} 66 66 + {0.5em} 67 67 + {} 68 68 + \titlespacing{\section}{0pt}{1.2em}{0.3em} 69 69 + 70 70 + \titleformat{\subsection} 71 71 + {\normalfont\bfseries\small} 72 72 + {\thesubsection} 73 73 + {0.5em} 74 74 + {} 75 75 + \titlespacing{\subsection}{0pt}{0.8em}{0.2em} 76 76 + 77 77 + % === HEADER/FOOTER === 78 78 + \pagestyle{fancy} 79 79 + \fancyhf{} 80 80 + \renewcommand{\headrulewidth}{0pt} 81 81 + \fancyhead[C]{\footnotesize\color{draftcolor}\textit{Working Draft --- not for citation}} 82 82 + \fancyfoot[C]{\footnotesize\thepage} 83 83 + 84 84 + % === LIST SETTINGS === 85 85 + \setlist[itemize]{nosep, leftmargin=1.2em, itemsep=0.1em} 86 86 + \setlist[enumerate]{nosep, leftmargin=1.2em} 87 87 + 88 88 + % === COLUMN SEPARATION === 89 89 + \setlength{\columnsep}{1.8em} 90 90 + 91 91 + % === PARAGRAPH SETTINGS === 92 92 + \setlength{\parindent}{1em} 93 93 + \setlength{\parskip}{0.3em} 94 94 + 95 95 + \tolerance=800 96 96 + \emergencystretch=1em 97 97 + \hyphenpenalty=50 98 98 + 99 99 + \newcommand{\acdot}{{\color{acpink}.}} 100 100 + \newcommand{\ac}{\textsc{Aesthetic.Computer}} 101 101 + \newcommand{\np}{\textsc{notepat}} 102 102 + 103 103 + \begin{document} 104 104 + 105 105 + \twocolumn[{% 106 106 + \begin{center} 107 107 + {\acbold\fontsize{20pt}{24pt}\selectfont\color{acdark} The Potter and the Prompt}\par 108 108 + \vspace{0.2em} 109 109 + {\aclight\fontsize{11pt}{13pt}\selectfont\color{acpink} John Holden's Proto-Cognitive Music Theory\\ and Aesthetic Computer}\par 110 110 + \vspace{0.6em} 111 111 + {\normalsize\href{https://prompt.ac/@jeffrey}{@jeffrey}}\par 112 112 + {\small\color{acgray} Aesthetic.Computer}\par 113 113 + {\small\color{acgray} ORCID: \href{https://orcid.org/0009-0007-4460-4913}{0009-0007-4460-4913}}\par 114 114 + \vspace{0.3em} 115 115 + {\small\color{acpurple} \url{https://aesthetic.computer}}\par 116 116 + \vspace{0.6em} 117 117 + \rule{\textwidth}{1.5pt} 118 118 + \vspace{0.5em} 119 119 + \end{center} 120 120 + 121 121 + \begin{center} 122 122 + {\small\color{draftcolor}\textbf{[ working draft --- not for citation ]}} 123 123 + \end{center} 124 124 + \vspace{0.3em} 125 125 + 126 126 + \begin{quote} 127 127 + \small\noindent 128 128 + In 1770, a Glasgow potter named John Holden published an \emph{Essay towards a Rational System of Music} that anticipated cognitive science by two centuries. Working from psalm tunes and folk melodies---``our nurses' tunes''---he proposed that music perception depends on unconscious mental acts of grouping, attention, and comparison against an internalized temporal standard he called the \emph{module}. This paper argues that Aesthetic Computer, a contemporary creative computing platform designed as a musical instrument, independently converges on Holden's core principles: that cognition emerges through active engagement with constrained interfaces, that humble materials are epistemologically generative, and that the outsider-practitioner occupies a privileged position for theoretical innovation. We identify specific structural correspondences between Holden's \emph{module} and AC's piece lifecycle, between his theory of attention and AC's immediate-mode rendering, and between his pedagogical use of psalmody and AC's instrument-first learning model. We then propose that AC can serve as a computational laboratory for advancing Holden's unfinished program---testing his claims about subjective rhythmicization, hierarchical grouping, and the tension between universal cognitive mechanisms and culturally specific musical outcomes that Carmel Raz identifies as the central open problem of his legacy. 129 129 + \end{quote} 130 130 + \vspace{0.8em} 131 131 + }] 132 132 + 133 133 + % ================================================================ 134 134 + \section{Introduction: Two Instrument Makers} 135 135 + % ================================================================ 136 136 + 137 137 + John Holden (1729--1772) was a merchant potter in Glasgow who began his career manufacturing musical instruments, signed himself ``philharmonikos,'' and never held an academic post. Charles Burney dismissed him for producing music that lacked ``graceful elegant melody''~\citep{raz2025}. His theoretical treatise---the \emph{Essay towards a Rational System of Music} (1770)---was largely forgotten for two and a half centuries until Carmel Raz recovered it as a landmark in the history of cognitive science: the earliest detailed account of how the human mind perceives music through unconscious acts of grouping, attention, and temporal comparison~\citep{raz2025}. 138 138 + 139 139 + \ac{} is a mobile-first runtime for creative computing, built by a single developer across 94 predecessor projects spanning more than a decade. It has no venture funding, no product-market fit, and no tutorial. It boots into a prompt. The first thing you can do is play it. Critics of mainstream software might note that it lacks menus, tooltips, and onboarding flows. Its primary instrument, \np{}, turns a QWERTY keyboard into a synthesizer and uses folk songs as its pedagogical material. 140 140 + 141 141 + This paper argues that the convergence between Holden's 18th-century theory and AC's 21st-century practice is not accidental. Both emerge from the same structural position: a practitioner who builds instruments, works with humble materials, refuses inherited frameworks, and discovers general principles through sustained engagement with a constrained domain. Both produce theories that professionals in their respective fields have overlooked---precisely because the professional's training obscures what the outsider's practice reveals. 142 142 + 143 143 + The argument proceeds in three stages. First, we summarize Holden's theory as recovered by Raz (\S\ref{sec:holden}). Second, we identify point-by-point convergences with AC's design philosophy (\S\ref{sec:convergences}). Third, we propose concrete ways AC can advance the problems Holden left unfinished (\S\ref{sec:advancing}). 144 144 + 145 145 + % ================================================================ 146 146 + \section{Holden's Theory: A Summary} 147 147 + \label{sec:holden} 148 148 + % ================================================================ 149 149 + 150 150 + Raz's \emph{Hearing with the Mind: Proto-Cognitive Music Theory in the Scottish Enlightenment}~\citep{raz2025} reconstructs Holden's system across five interrelated claims. We summarize each briefly. 151 151 + 152 152 + \subsection{The Module} 153 153 + 154 154 + The heart of Holden's system is the \emph{module}: an internalized temporal unit derived from the key note, against which the mind measures all other pitches. Like the monochord, it is divided and subdivided to produce scale intervals---but unlike the monochord, it is a \emph{mental construct}, ``an introjection of the monochord's quantitative model within the mind''~\citep{raz2025}. The module is not a physical object. It is an abstraction maintained by the listener's cognition, a standard against which incoming sounds are compared, grouped, and hierarchically organized. 155 155 + 156 156 + Holden uses \emph{relative} rather than absolute values: the module ``grounds a cognitive framework against which other pitches are hierarchically organized and perceived.'' This makes his system fundamentally perceptual rather than acoustical. The question is not what frequencies are present in the air, but how the mind organizes them. 157 157 + 158 158 + \subsection{Isochronous Grouping} 159 159 + 160 160 + Holden proposes that ``among the isochronous single vibrations of musical sounds the mind naturally seeks to constitute isochronous compound parcels''---groups of equally spaced units organized hierarchically by the small primes 2 and 3. These nested groupings are cumulative: groups of groups, recursively structured. 161 161 + 162 162 + This principle explains both pitch (scale degrees as subdivisions of the module by prime factors) and rhythm (metric organization as involuntary accentuation of regular beats). Raz notes that Holden's account of \emph{subjective rhythmicization}---the involuntary accentuation of every $n$th beat in an undifferentiated series---predates Kirnberger's by six years~\citep{raz2025}. 163 163 + 164 164 + \subsection{Attention as Primary Faculty} 165 165 + 166 166 + Attention in Holden's system is not a passive spotlight but an active, dual-function faculty. When a listener ``fixes his attention on one sound as a key note,'' other sounds are ``necessarily referred to'' it. Attention also explains consonance and dissonance: when notes ``do not unite, but separately distract the attention of the hearer,'' this constitutes discord. 167 167 + 168 168 + Holden speaks of attention as ``partly divided'' at all times---selectively focusing on competing tonal centers. Upper and lower voices ``attract most of our attention'' due to perceptual salience. This anticipates modern work on auditory stream segregation and selective attention in music perception. 169 169 + 170 170 + \subsection{Bottom-Up and Top-Down Processing} 171 171 + 172 172 + Raz maps Holden's account onto a tripartite processing model: 173 173 + 174 174 + \begin{itemize} 175 175 + \item \textbf{Low-level:} The ear judges regularity, discarding non-isochronous sounds. 176 176 + \item \textbf{Mid-level:} The mind decomposes into prime factors, derives the module, and compares incoming intervals to previously established divisions. 177 177 + \item \textbf{High-level:} Voicing, register, and harmonic function are determined through the interaction of attention, memory, and expectation. 178 178 + \end{itemize} 179 179 + 180 180 + Crucially, this is not a one-way pipeline. ``Previously held modules, factorings, and fundamentals in implicit memory directly affect perception of new sounds''---top-down processing shapes what the listener hears, not just how they interpret it. 181 181 + 182 182 + \subsection{The Fundamental Bass as Cognitive Artifact} 183 183 + 184 184 + Holden reinterprets Rameau's \emph{basse fondamentale} as a mental phenomenon rather than an acoustical one. When the mind encounters a chord, it ``automatically and unconsciously supplies an appropriate accompanying fundamental bass note'' through its grouping of sounds into nested hierarchies of small primes. Where Rameau's mechanism remains ``occult,'' Holden provides a cognitive explanation: the fundamental bass is what happens when the mind tries to make sense of simultaneous sounds using the same prime-factor decomposition it applies everywhere else. 185 185 + 186 186 + % ================================================================ 187 187 + \section{The Scottish Enlightenment Context} 188 188 + \label{sec:context} 189 189 + % ================================================================ 190 190 + 191 191 + Holden did not work in isolation. Raz traces his philosophical foundations to Thomas Reid's common-sense realism, particularly Reid's model of the mind as \emph{active}---directing attention voluntarily, organizing experience through judgment, rather than passively receiving sense impressions in the manner of Hume's associationism~\citep{reid1764, hume1739}. 192 192 + 193 193 + Reid's innovation was to insist that the mind has agency in deciding what to attend to. Memory preserves identity across time; consciousness operates ``like perception, except that it takes as objects the mind's own operations.'' Reid himself used music as a central example---``the situation of attending to a specific part of a musical texture''---suggesting that the selective, active character of musical listening was part of what led him to his broader theory of mind. 194 194 + 195 195 + Holden took Reid's active mind and asked: what specifically does it \emph{do} when it hears music? The answer---grouping, subdividing, comparing, attending---constitutes the first detailed cognitive model of music perception. It bridges the gap between traditional music theory (which describes \emph{what} we hear) and cognitive science (which explains \emph{how} we hear it). 196 196 + 197 197 + This genealogy matters because AC inherits from a parallel tradition. Where Holden draws on Reid, AC draws on Papert's constructionism~\citep{papert1980}, Illich's convivial tools~\citep{illich1973}, and Nelson's vision of personal computing as creative liberation~\citep{nelson1974}. In both cases, the philosophical commitment is the same: the mind is not a passive consumer of inputs but an active constructor of meaning, and the instrument's job is to make that construction visible, audible, and manipulable. 198 198 + 199 199 + % ================================================================ 200 200 + \section{Convergences} 201 201 + \label{sec:convergences} 202 202 + % ================================================================ 203 203 + 204 204 + \subsection{The Module and the Piece Lifecycle} 205 205 + 206 206 + Holden's module is a mental construct that the listener maintains to parse incoming auditory input. It is derived from the first sounds heard (typically the tonic), and all subsequent perception is organized relative to it. The module is not the music itself---it is the \emph{framework} the mind builds to hear the music. 207 207 + 208 208 + AC's piece lifecycle operates analogously. Every piece exports functions---\texttt{boot}, \texttt{act}, \texttt{sim}, \texttt{paint}---that together constitute a perceptual loop: initialize a framework (\texttt{boot}), receive input (\texttt{act}), update internal state (\texttt{sim}), produce output (\texttt{paint}). The piece is not a static program; it is a cognitive scaffold that processes time-varying input against an established context, just as the module processes incoming pitches against the key. 209 209 + 210 210 + The structural correspondence is precise. Holden's module is \emph{derived from} the first sounds and then \emph{maintained by} the mind as a reference. AC's \texttt{boot} function establishes the piece's initial state, and then \texttt{sim} and \texttt{paint} maintain and express it frame by frame. In both systems, the framework is: 211 211 + 212 212 + \begin{enumerate} 213 213 + \item Established from initial input 214 214 + \item Maintained through time as a reference standard 215 215 + \item Used to organize and interpret subsequent events 216 216 + \item Relative, not absolute (Holden's module uses ratios; AC's screen coordinates scale to any display) 217 217 + \end{enumerate} 218 218 + 219 219 + This mapping was described in AC's own theoretical writing before any encounter with Holden: ``The piece lifecycle maps onto the perception-action cycle described by enactive cognitive science: an agent perceives its environment (\texttt{act}), updates its internal state (\texttt{sim}), and produces an output (\texttt{paint})''~\citep{acpieces2026}. 220 220 + 221 221 + \subsection{Attention and Immediate-Mode Rendering} 222 222 + 223 223 + Holden insists that attention is always active, always ``partly divided,'' always selecting among competing stimuli. Music exists only in the listener's sustained act of attending to it. Without attention, there is no module, no key, no fundamental bass---only undifferentiated sound. 224 224 + 225 225 + AC's immediate-mode rendering engine embodies the same principle computationally. Every frame is drawn from scratch. There is no retained scene graph, no persistent visual state, no DOM. ``This is an aesthetic commitment to the present tense of computation. The piece exists only in its execution. A screenshot captures one frame of a process that has no stable state to capture''~\citep{acgoodiepal2026}. 226 226 + 227 227 + In Holden's system, the moment the listener stops attending, the music stops being music. In AC, the moment the renderer stops drawing, the screen goes blank. Both systems refuse to cache, store, or persist the act of perception. Both insist that the thing perceived is constituted \emph{in the act of perceiving it}---a position that aligns with Reid's active-mind philosophy and, independently, with Varela's enactivism~\citep{varela1991}. 228 228 + 229 229 + Friedrich Kittler argued that software obscures the material reality of computation~\citep{kittler1999}. AC's immediate-mode model resists this by ``making the relationship between code and screen explicit---every pixel is drawn every frame, with nothing hidden behind abstraction layers''~\citep{acmain2026}. Holden's module resists a parallel obscuring: where Rameau's fundamental bass is ``occult,'' the module makes the cognitive act of hearing \emph{explicit}---it names the mental operation and describes its mechanism. 230 230 + 231 231 + \subsection{Constraint as Epistemological Advantage} 232 232 + 233 233 + Raz makes a remarkable observation about Holden's limited musical training: ``his rather weak musical background may paradoxically have been an advantage---if not a prerequisite---in his creation of an innovative theory of music''~\citep{raz2025}. Holden worked from psalm tunes and folk melodies because that was what he knew. This constraint forced him to theorize from the simplest possible materials, which turned out to be exactly the right starting point for a theory of universal cognitive principles. 234 234 + 235 235 + AC's relationship to constraint is identical. The system is built by one person. It runs on minimal hardware. Its primary instrument maps notes to a typing keyboard. Its song library draws from folk traditions. These are not compromises---they are design decisions that produce theoretical insights unavailable to well-resourced, feature-complete platforms. 236 236 + 237 237 + The folk-songs paper makes this explicit: ``Folk songs evolved to be playable without notation, memorizable without instruments, and forkable without permission. These properties---constrained pitch range, repetitive structure, oral transmissibility---make folk melodies structurally ideal for \np{}''~\citep{acfolk2026}. Passmore et al.'s finding that ``note changes with smaller melodic impact are more likely to survive'' describes an evolutionary selection pressure toward simplicity~\citep{passmore2023}---the same simplicity that gave Holden his ``nurses' tunes'' and gave AC its song mode. 238 238 + 239 239 + The parallel extends to the practitioners themselves. Holden signed himself ``philharmonikos''---not a professional musician but an amateur lover of music, closer to the mathematical ``philomath'' than to the concert virtuoso. AC's author is not a computer scientist by training. In both cases, the outsider position is generative. The professional's expertise comes with inherited frameworks that constrain what questions can be asked. The outsider, working from practice rather than curriculum, asks questions the field has not formulated. 240 240 + 241 241 + \subsection{Our Nurses' Tunes: Folk Materials as Foundation} 242 242 + 243 243 + Holden explicitly chose to illustrate his theory with ``common Psalm tunes of the church, [which] are more universally known than any other pieces of music\ldots as we should first learn to spell and read our mother-tongue, so we should first learn to apply the scale\ldots to our nurses' tunes''~\citep{raz2025}. By asking readers to reflect on melodies familiar since childhood, he ensured his insights were ``available to all, regardless of their background and training.'' 244 244 + 245 245 + AC's \np{} makes the same pedagogical move. Song mode transforms the instrument into a guided interface where ``only the correct note is active, and pressing it advances the song. The player cannot make a mistake---they can only wait\ldots The instrument teaches the song by refusing to let you fail''~\citep{acplork2026}. This mirrors Orff and Kod\'{a}ly pedagogies, which constrain the instrument to match the learner's ability---but it also mirrors Holden's insistence that theory should begin with the melodies everyone already knows. 246 246 + 247 247 + The URL-as-oral-tradition model deepens this connection. ``A notepat song encoding is a URL. Sharing a song is sharing a link. Modifying a song is editing a text string and sharing a new link. The `oral tradition' becomes a tradition of URLs''~\citep{acfolk2026}. The International Folk Music Council identified continuity, variation, and community selection as the three properties of the folk process. AC's URL-based sharing satisfies all three: the link persists (continuity), anyone can edit it (variation), and social sharing determines which encodings survive (selection). 248 248 + 249 249 + \subsection{Embodied Learning without Curriculum} 250 250 + 251 251 + Holden's theory describes learning as a process the mind performs \emph{involuntarily}: ``this accent\ldots arises from involuntary acts of attention.'' The listener does not decide to group beats into fours---the mind does it automatically, and the conscious experience of meter is a consequence, not a cause. Learning to hear music is not a matter of being taught rules but of having the mind's innate grouping operations activated by appropriate input. 252 252 + 253 253 + AC's pedagogical philosophy makes the same claim about learning to compute: ``There is no tutorial. There is no `getting started' guide\ldots The user encounters the prompt and begins typing. The system responds. Learning happens through exploration, failure, and the gradual accumulation of memorized paths---the same way one learns an instrument''~\citep{acgoodiepal2026}. This ``produces a different kind of knowledge than tutorial-based systems: embodied, improvisational, personal.'' 254 254 + 255 255 + Both reject the assumption that competence requires explicit instruction. Both treat the learner's existing cognitive capacities as sufficient---given the right interface. Holden trusts the mind's grouping faculty; AC trusts the user's capacity to explore. Papert's constructionism provides the modern theoretical frame: ``Logo was not about teaching programming. It was about giving children a medium for thinking about thinking''~\citep{papert1980}. The prompt, like the psalm tune, is a medium for thinking---not a lesson plan. 256 256 + 257 257 + \subsection{Notation as Performative Interface} 258 258 + 259 259 + Holden's \emph{Essay} is itself a kind of score: it asks the reader to perform cognitive experiments on familiar melodies, to introspect on what happens when they attend to different parts of the musical texture. The theoretical text is not a passive description of facts but an invitation to reproduce specific perceptual experiences. 260 260 + 261 261 + AC's whistlegraph---a graphic score in which drawing, singing, and lyrics are performed simultaneously---operates on the same principle: ``The finished drawing serves as a graphic score\ldots Anyone who can see the drawing and recall the melody can perform the whistlegraph. The score teaches you how to play it''~\citep{acwhistlegraph2026}. When AC renamed its README.md to SCORE.md, it imported this framework explicitly: the project document is ``a set of instructions for producing a temporal event,'' addressed to both human contributors and automated systems~\citep{acscore2026}. 262 262 + 263 263 + In both cases, the notation is not a representation of music or software but an \emph{interface} for producing it. The score is performative, not descriptive. Goodiepal's position, which AC adopts, extends this further: ``Goodiepal's scores are not instructions for human performers. They are documents addressed to any system capable of interpretation''~\citep{acgoodiepal2026}. Holden's \emph{Essay} addresses any mind capable of hearing psalm tunes. The document and the reader co-produce the theory. 264 264 + 265 265 + % ================================================================ 266 266 + \section{Advancing Holden's Program} 267 267 + \label{sec:advancing} 268 268 + % ================================================================ 269 269 + 270 270 + Raz identifies several problems that Holden's system raises but does not resolve. AC is positioned to advance each of them---not as a historical exercise but as a living computational laboratory. 271 271 + 272 272 + \subsection{The Module as Testable Computational Construct} 273 273 + 274 274 + Holden proposes the module as a mental construct but has no way to observe it directly. It remains a theoretical posit. AC can make it computational. 275 275 + 276 276 + A piece could implement the module explicitly: derive a temporal reference from the first pitch played, subdivide it by prime factors to generate a scale, and render the resulting tonal framework visually in real time. The user would see their own module---the cognitive scaffolding Holden describes---drawn on screen as they play. Changing the key note would restructure the visual framework. Playing ambiguous intervals would show the module in tension, divided between competing interpretations. 277 277 + 278 278 + This is not a simulation of Holden's theory but an \emph{instantiation} of it. The piece lifecycle already mirrors the module's operation: establish a reference (\texttt{boot}), maintain it against incoming input (\texttt{act}/\texttt{sim}), express it as perceptual output (\texttt{paint}). Building a Holden module piece would make the implicit correspondence explicit and testable. 279 279 + 280 280 + \subsection{Subjective Rhythmicization in Interactive Systems} 281 281 + 282 282 + Holden's claim that the mind involuntarily accents every $n$th beat in an undifferentiated series is one of his most testable predictions. In a conventional listening experiment, the stimulus is fixed. But in an interactive system like \np{}, the user \emph{produces} the beats themselves, at their own tempo, with their own variations. 283 283 + 284 284 + An AC piece could present an isochronous click track and let the user tap along, then visualize where the user's involuntary accents fall. Alternatively, it could present no accents at all and ask the user to indicate when they \emph{hear} an accent in a perfectly uniform sequence---replicating Holden's thought experiment as a real-time interactive task. 285 285 + 286 286 + The bare-metal AC Native OS, which runs at 192kHz audio with 128-sample periods, provides the temporal precision needed for such experiments. The input system already captures analog key pressure via the NuPhy HE protocol. Combining pressure-sensitive input with high-resolution audio output creates an instrument capable of measuring the fine-grained timing variations that subjective rhythmicization produces. 287 287 + 288 288 + \subsection{The Universalism Problem} 289 289 + 290 290 + Raz identifies the central unresolved tension in Holden's system: he claims to describe universal cognitive mechanisms (grouping by small primes, attention, the module), but his evidence comes entirely from Scottish psalm tunes and the Western diatonic scale. He writes that ``the major scale has always been, and will always be the same in all ages and countries: it seems to have been one of those laws which the great Author of Nature prescribed to himself.'' This is a strong universalist claim. It is also empirically wrong. 291 291 + 292 292 + AC is positioned to address this because its folk-song infrastructure is not culturally bounded. The URL-encoding system that represents melodies as shareable strings can encode any scale system---pentatonic, hexatonic, microtonal, or otherwise. Song mode can constrain the keyboard to any set of intervals, not just the Western diatonic. The folk-process model (continuity, variation, selection) applies to any oral tradition. 293 293 + 294 294 + A research program could use AC to test the \emph{separability} of Holden's claims: which cognitive principles (grouping, prime-factor decomposition, modular comparison) hold across different scale systems, and which are artifacts of the diatonic context he assumed? If the module is truly a universal cognitive mechanism, it should organize pentatonic and chromatic materials with the same facility. If grouping by 2 and 3 is innate, it should shape rhythmic perception in traditions that emphasize 5, 7, or irregular meters. AC provides the platform to test these predictions interactively, with users from any musical background. 295 295 + 296 296 + \subsection{Attention Tracking in Real-Time Creative Computing} 297 297 + 298 298 + Holden theorized about attention but could only observe its effects indirectly, through the music-theoretical consequences of different attentional states. AC can observe attention directly. 299 299 + 300 300 + The platform already tracks input events at millisecond resolution: keystrokes, touch coordinates, mouse position, analog key pressure. In \np{}, these events correspond to musical decisions---which note to play, when to play it, how hard to press. The pattern of a user's input over time is a trace of their attention: which register they favor, whether they track the melody or the harmony, how long they sustain a note before moving on. 301 301 + 302 302 + An AC piece could visualize this attentional trace in real time, showing the user where their attention is directed within the tonal framework---essentially making Holden's ``divided attention'' visible. This would not just illustrate the theory; it would generate data about how attention actually behaves in interactive musical contexts, where the listener and performer are the same person. 303 303 + 304 304 + \subsection{Anne Young's Games and Ludic Pedagogy} 305 305 + 306 306 + Raz's concluding chapter describes Anne Young's ``music-theoretical game set''---a synthesis of music theory, antagonistic gameplay, and juvenile pedagogy from the late 18th century. This is arguably the first ludic music-theory interface: learning through play, within formal constraints, with an opponent. 307 307 + 308 308 + AC already operates in this space. Song mode is a game: play the right note to advance, fail to play it and wait. The whistlegraph is a game: draw, sing, and speak simultaneously, maintaining coordination across three modalities. The prompt itself is a game: guess the right command, discover new paths, build a repertoire. 309 309 + 310 310 + A direct implementation of Young's game set as an AC piece would complete a remarkable circuit: an 18th-century Scottish pedagogical game, recovered by a 21st-century musicologist, instantiated in a 21st-century computing instrument whose design philosophy independently recapitulates the theory that motivated the game in the first place. 311 311 + 312 312 + % ================================================================ 313 313 + \section{The Outsider's Advantage} 314 314 + \label{sec:outsider} 315 315 + % ================================================================ 316 316 + 317 317 + The deepest convergence between Holden and AC is not any specific technical claim but a shared epistemological position: \emph{the outsider-practitioner sees what the specialist cannot}. 318 318 + 319 319 + Holden was not a professional musician, and this was his advantage. Raz writes: ``his rather weak musical background may paradoxically have been an advantage---if not a prerequisite.'' Professional musicians in 1770 inherited Rameau's framework, which provided answers to questions about harmony and tonality that Holden did not know to take for granted. Because he lacked the professional's inherited framework, he was forced to ask: what does the mind \emph{actually do} when it hears a chord? The answer he produced anticipated cognitive science by two hundred years. 320 320 + 321 321 + AC occupies the same position relative to mainstream software. It does not inherit the assumptions of product-market fit, user onboarding, feature parity, or platform economics. It asks: what does a computer \emph{actually do} when someone plays it? The answers it produces---immediate-mode as aesthetic commitment, the prompt as instrument, the URL as oral tradition, the piece as cognitive extension---are invisible from inside the software industry's inherited frameworks. 322 322 + 323 323 + Illich named this position. A ``convivial tool'' is one that ``expands personal autonomy'' rather than ``requiring institutional mediation''~\citep{illich1973}. Holden's \emph{Essay} is a convivial tool for thinking about music: it requires only a mind and some psalm tunes. AC is a convivial tool for creative computing: it requires only a keyboard and a URL. Both resist the professionalization that would make their insights inaccessible to the people who most need them. 324 324 + 325 325 + Nelson wrote in 1974: ``you can and must understand computers NOW''~\citep{nelson1974}. Holden might have written, in 1770: you can and must understand music NOW---not through treatises on counterpoint and figured bass, but through the tunes you already know, the attention you already possess, the grouping your mind already performs. Both are radical democratic claims about who is qualified to understand the systems that shape their lives. 326 326 + 327 327 + % ================================================================ 328 328 + \section{Conclusion: A Living Laboratory} 329 329 + % ================================================================ 330 330 + 331 331 + Holden's \emph{Essay towards a Rational System of Music} was forgotten for 250 years. It took Raz's recovery to show that an 18th-century potter had anticipated the cognitive science of music with extraordinary precision and detail. The theory was ahead of its time---but it was also ahead of its \emph{tools}. Holden had no way to instantiate the module, to visualize attention, to test grouping interactively, to compare his predictions across musical traditions. He had only the psalm tunes, the printed page, and the reader's willingness to introspect. 332 332 + 333 333 + \ac{} provides the tools Holden lacked. Not because it was designed for this purpose, but because it was designed from the same position---an instrument maker working with humble materials, building a system that makes cognition audible and visible. The piece lifecycle is the module. Immediate-mode rendering is sustained attention. Song mode is ``our nurses' tunes.'' The prompt is the \emph{Essay}'s invitation to begin. 334 334 + 335 335 + The proposal is not to build a Holden simulator. It is to recognize that AC already \emph{is} a Holden-like system---a platform where the mind's musical cognition is made explicit, manipulable, and shareable---and to pursue the research program this recognition enables. The module can be made computational. Subjective rhythmicization can be measured interactively. The universalism question can be tested across scale systems. Attention can be tracked in real time. 336 336 + 337 337 + Holden asked what the mind does when it hears music. AC asks what the mind does when it plays a computer. The answer, this paper argues, is the same: it groups, it attends, it compares against an internalized standard, and it constructs meaning from the simplest available materials. The potter and the prompt are working on the same problem. It is time they worked together. 338 338 + 339 339 + \bibliographystyle{plainnat} 340 340 + \bibliography{references} 341 341 + 342 342 + \end{document}

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··· 1 1 + @book{raz2025, 2 2 + author = {Raz, Carmel}, 3 3 + title = {Hearing with the Mind: Proto-Cognitive Music Theory in the Scottish Enlightenment}, 4 4 + publisher = {Oxford University Press}, 5 5 + year = {2025}, 6 6 + note = {CC BY-NC-ND 4.0} 7 7 + } 8 8 + 9 9 + @book{holden1770, 10 10 + author = {Holden, John}, 11 11 + title = {An Essay towards a Rational System of Music}, 12 12 + publisher = {Robert Urie}, 13 13 + address = {Glasgow}, 14 14 + year = {1770} 15 15 + } 16 16 + 17 17 + @book{reid1764, 18 18 + author = {Reid, Thomas}, 19 19 + title = {An Inquiry into the Human Mind on the Principles of Common Sense}, 20 20 + publisher = {A. Millar, A. Kincaid \& J. Bell}, 21 21 + address = {Edinburgh}, 22 22 + year = {1764} 23 23 + } 24 24 + 25 25 + @book{hume1739, 26 26 + author = {Hume, David}, 27 27 + title = {A Treatise of Human Nature}, 28 28 + publisher = {John Noon}, 29 29 + address = {London}, 30 30 + year = {1739} 31 31 + } 32 32 + 33 33 + @book{papert1980, 34 34 + author = {Papert, Seymour}, 35 35 + title = {Mindstorms: Children, Computers, and Powerful Ideas}, 36 36 + publisher = {Basic Books}, 37 37 + year = {1980} 38 38 + } 39 39 + 40 40 + @book{illich1973, 41 41 + author = {Illich, Ivan}, 42 42 + title = {Tools for Conviviality}, 43 43 + publisher = {Harper \& Row}, 44 44 + year = {1973} 45 45 + } 46 46 + 47 47 + @book{nelson1974, 48 48 + author = {Nelson, Ted}, 49 49 + title = {Computer Lib / Dream Machines}, 50 50 + publisher = {Self-published}, 51 51 + year = {1974} 52 52 + } 53 53 + 54 54 + @book{varela1991, 55 55 + author = {Varela, Francisco J. and Thompson, Evan and Rosch, Eleanor}, 56 56 + title = {The Embodied Mind: Cognitive Science and Human Experience}, 57 57 + publisher = {MIT Press}, 58 58 + year = {1991} 59 59 + } 60 60 + 61 61 + @book{kittler1999, 62 62 + author = {Kittler, Friedrich}, 63 63 + title = {Gramophone, Film, Typewriter}, 64 64 + publisher = {Stanford University Press}, 65 65 + year = {1999}, 66 66 + note = {Trans. Geoffrey Winthrop-Young and Michael Wutz} 67 67 + } 68 68 + 69 69 + @article{passmore2023, 70 70 + author = {Passmore, Sam and Savage, Patrick E. and others}, 71 71 + title = {Global Transmission and Evolution of Folk Melodies}, 72 72 + journal = {Current Biology}, 73 73 + year = {2023}, 74 74 + volume = {33}, 75 75 + pages = {1--12} 76 76 + } 77 77 + 78 78 + @unpublished{acmain2026, 79 79 + author = {{@jeffrey}}, 80 80 + title = {Aesthetic Computer '26: A Mobile-First Runtime for Creative Computing}, 81 81 + year = {2026}, 82 82 + note = {Working draft, \url{https://papers.aesthetic.computer}} 83 83 + } 84 84 + 85 85 + @unpublished{acpieces2026, 86 86 + author = {{@jeffrey}}, 87 87 + title = {The Piece as Cognitive Extension: Lifecycle, Literacy, and Creative Computing}, 88 88 + year = {2026}, 89 89 + note = {Working draft, \url{https://papers.aesthetic.computer}} 90 90 + } 91 91 + 92 92 + @unpublished{acgoodiepal2026, 93 93 + author = {{@jeffrey}}, 94 94 + title = {Sucking the Complex: Goodiepal and Aesthetic Computer}, 95 95 + year = {2026}, 96 96 + note = {Working draft, \url{https://papers.aesthetic.computer}} 97 97 + } 98 98 + 99 99 + @unpublished{acfolk2026, 100 100 + author = {{@jeffrey}}, 101 101 + title = {Folk Songs for Typing Keyboards: Oral Tradition as Interface Design}, 102 102 + year = {2026}, 103 103 + note = {Working draft, \url{https://papers.aesthetic.computer}} 104 104 + } 105 105 + 106 106 + @unpublished{acwhistlegraph2026, 107 107 + author = {{@jeffrey}}, 108 108 + title = {Whistlegraph: Drawing, Singing, and Graphic Score as Viral Form}, 109 109 + year = {2026}, 110 110 + note = {Working draft, \url{https://papers.aesthetic.computer}} 111 111 + } 112 112 + 113 113 + @unpublished{acscore2026, 114 114 + author = {{@jeffrey}}, 115 115 + title = {Reading the Score: How {SCORE.md} Governs Aesthetic Computer}, 116 116 + year = {2026}, 117 117 + note = {Working draft, \url{https://papers.aesthetic.computer}} 118 118 + } 119 119 + 120 120 + @unpublished{acplork2026, 121 121 + author = {{@jeffrey}}, 122 122 + title = {A Laptop Ensemble of One: Aesthetic Computer as {PLOrk} for Solo Practice}, 123 123 + year = {2026}, 124 124 + note = {Working draft, \url{https://papers.aesthetic.computer}} 125 125 + } 126 126 + 127 127 + @unpublished{acnotepat2026, 128 128 + author = {{@jeffrey}}, 129 129 + title = {notepat.com: From Keyboard Toy to System Front Door}, 130 130 + year = {2026}, 131 131 + note = {Working draft, \url{https://papers.aesthetic.computer}} 132 132 + }

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··· 180 180 siteName: "ucla-arts-funding-26-arxiv", 181 181 title: "Two Departments, One Building", 182 182 }, 183 183 + "arxiv-holden": { 184 184 + base: "holden", 185 185 + siteName: "potter-and-prompt-26-arxiv", 186 186 + title: "The Potter and the Prompt", 187 187 + }, 183 188 }; 184 189 185 190 function texName(base, lang) { ··· 583 588 detail: "", 584 589 abstract: 585 590 "Reading the Score looks at the graphic score as an interface for interpretation and collaboration. The paper treats notation as a computational and social object.", 591 591 + }, 592 592 + "potter-and-prompt-26-arxiv": { 593 593 + detail: "John Holden's Proto-Cognitive Music Theory and Aesthetic Computer · arXiv 7pp", 594 594 + abstract: 595 595 + "The Potter and the Prompt argues that AC independently converges on the core principles of John Holden's 1770 proto-cognitive music theory. It proposes AC as a computational laboratory for advancing Holden's unfinished program on grouping, attention, and the module.", 586 596 }, 587 597 }; 588 598

+58 -51

system/public/papers.aesthetic.computer/index.html

reviewed

··· 495 495 496 496 <!-- papers-start --> 497 497 498 498 - <div class="p" data-paper-id="ac" data-created="2026-03-21" data-updated="2026-03-28T19:04:51.037Z"> 498 498 + <div class="p" data-paper-id="ac" data-created="2026-03-21" data-updated="2026-04-06T01:46:31.736Z"> 499 499 <div class="title"><a href="/aesthetic-computer-26-arxiv.pdf" data-base="/aesthetic-computer-26-arxiv">Aesthetic Computer '26</a></div> 500 500 <div class="detail">A Mobile-First Runtime for Creative Computing &middot; arXiv 5pp</div> 501 501 <div class="abstract">Aesthetic Computer is presented as a mobile-first creative computing runtime where the interface, publishing flow, and community feedback loop are part of the medium. The paper argues that small pieces can make software feel more social, more portable, and easier to share.</div> 502 502 - <div class="meta-row"><span class="author">@jeffrey</span><span class="created" title="Created">03/21</span><span class="revisions" title="Revision count">revision 2</span><span class="updated" title="Last updated">Mar 28 12:04</span></div> 502 502 + <div class="meta-row"><span class="author">@jeffrey</span><span class="created" title="Created">03/21</span><span class="revisions" title="Revision count">revision 2</span><span class="updated" title="Last updated">Apr 5 18:46</span></div> 503 503 </div> 504 504 505 505 - <div class="p" data-paper-id="kidlisp" data-created="2026-03-21" data-updated="2026-03-28T19:04:51.039Z"> 505 505 + <div class="p" data-paper-id="kidlisp" data-created="2026-03-21" data-updated="2026-04-06T01:46:31.739Z"> 506 506 <div class="title"><a href="/kidlisp-26-arxiv.pdf" data-base="/kidlisp-26-arxiv">KidLisp '26</a></div> 507 507 <div class="detail">A Minimal Lisp for Generative Art on a Social Platform &middot; arXiv 6pp</div> 508 508 <div class="abstract">KidLisp is the platform's tiny Lisp for building visual and musical pieces in the browser. The paper shows how a minimal language can stay approachable while still supporting generative art and composition.</div> 509 509 - <div class="meta-row"><span class="author">@jeffrey</span><span class="created" title="Created">03/21</span><span class="revisions" title="Revision count">revision 2</span><span class="updated" title="Last updated">Mar 28 12:04</span></div> 509 509 + <div class="meta-row"><span class="author">@jeffrey</span><span class="created" title="Created">03/21</span><span class="revisions" title="Revision count">revision 2</span><span class="updated" title="Last updated">Apr 5 18:46</span></div> 510 510 </div> 511 511 512 512 - <div class="p" data-paper-id="plork" data-created="2026-03-21" data-updated="2026-03-28T19:04:51.040Z"> 512 512 + <div class="p" data-paper-id="plork" data-created="2026-03-21" data-updated="2026-04-06T01:46:31.742Z"> 513 513 <div class="title"><a href="/plorking-the-planet-26-arxiv.pdf" data-base="/plorking-the-planet-26-arxiv">PLOrk'ing the Planet</a></div> 514 514 <div class="detail">Laptop Orchestras, PLOrk Heritage, and Aesthetic Computer &middot; arXiv</div> 515 515 <div class="abstract">This paper connects Aesthetic Computer to laptop orchestras and the collaborative traditions of PLOrk. It treats the browser as a place for ensemble practice, not just solo desktop programming.</div> 516 516 - <div class="meta-row"><span class="author">@jeffrey</span><span class="created" title="Created">03/21</span><span class="revisions" title="Revision count">revision 2</span><span class="updated" title="Last updated">Mar 28 12:04</span></div> 516 516 + <div class="meta-row"><span class="author">@jeffrey</span><span class="created" title="Created">03/21</span><span class="revisions" title="Revision count">revision 2</span><span class="updated" title="Last updated">Apr 5 18:46</span></div> 517 517 </div> 518 518 519 519 - <div class="p" data-paper-id="os" data-created="2026-03-21" data-updated="2026-03-28T19:04:51.039Z"> 519 519 + <div class="p" data-paper-id="os" data-created="2026-03-21" data-updated="2026-04-06T01:46:31.740Z"> 520 520 <div class="title"><a href="/ac-native-os-26-arxiv.pdf" data-base="/ac-native-os-26-arxiv">AC Native OS</a></div> 521 521 <div class="detail">A Bare-Metal Creative Computing Operating System &middot; arXiv 5pp</div> 522 522 <div class="abstract">AC Native OS describes a bare-metal runtime for creative computing. It focuses on boot-time simplicity and the idea that the operating system itself can be a programmable art surface.</div> 523 523 - <div class="meta-row"><span class="author">@jeffrey</span><span class="created" title="Created">03/21</span><span class="revisions" title="Revision count">revision 2</span><span class="updated" title="Last updated">Mar 28 12:04</span></div> 523 523 + <div class="meta-row"><span class="author">@jeffrey</span><span class="created" title="Created">03/21</span><span class="revisions" title="Revision count">revision 2</span><span class="updated" title="Last updated">Apr 5 18:46</span></div> 524 524 </div> 525 525 526 526 - <div class="p" data-paper-id="api" data-created="2026-03-21" data-updated="2026-03-28T19:04:51.038Z"> 526 526 + <div class="p" data-paper-id="api" data-created="2026-03-21" data-updated="2026-04-06T01:46:31.737Z"> 527 527 <div class="title"><a href="/piece-api-26-arxiv.pdf" data-base="/piece-api-26-arxiv">From setup() to boot()</a></div> 528 528 <div class="detail">Processing at the Core of the Piece API &middot; arXiv 7pp</div> 529 529 <div class="abstract">The Piece API rethinks creative software around composable pieces instead of monolithic apps. It uses Processing's lineage to connect setup(), boot(), and the act of publishing.</div> 530 530 - <div class="meta-row"><span class="author">@jeffrey</span><span class="created" title="Created">03/21</span><span class="revisions" title="Revision count">revision 2</span><span class="updated" title="Last updated">Mar 28 12:04</span></div> 530 530 + <div class="meta-row"><span class="author">@jeffrey</span><span class="created" title="Created">03/21</span><span class="revisions" title="Revision count">revision 2</span><span class="updated" title="Last updated">Apr 5 18:46</span></div> 531 531 </div> 532 532 533 533 - <div class="p" data-paper-id="who-pays" data-created="2026-03-27" data-updated="2026-03-28T19:04:51.040Z"> 533 533 + <div class="p" data-paper-id="who-pays" data-created="2026-03-27" data-updated="2026-04-06T01:46:31.741Z"> 534 534 <div class="title"><a href="/who-pays-for-creative-tools-26-arxiv.pdf" data-base="/who-pays-for-creative-tools-26-arxiv">Who Pays for Creative Tools?</a></div> 535 535 <div class="detail">Funding, Burnout, and Survival in Open-Source Creative Computing &middot; arXiv 5pp</div> 536 536 <div class="abstract">A short look at who supports open-source creative tools and what that labor costs. The paper connects funding, burnout, and long-term maintenance to the life of artistic software.</div> 537 537 - <div class="meta-row"><span class="author">@jeffrey</span><span class="created" title="Created">03/27</span><span class="revisions" title="Revision count">revision 1</span><span class="updated" title="Last updated">Mar 28 12:04</span></div> 537 537 + <div class="meta-row"><span class="author">@jeffrey</span><span class="created" title="Created">03/27</span><span class="revisions" title="Revision count">revision 1</span><span class="updated" title="Last updated">Apr 5 18:46</span></div> 538 538 </div> 539 539 540 540 - <div class="p" data-paper-id="pieces" data-created="2026-03-21" data-updated="2026-03-28T19:04:51.039Z"> 540 540 + <div class="p" data-paper-id="pieces" data-created="2026-03-21" data-updated="2026-04-06T01:46:31.741Z"> 541 541 <div class="title"><a href="/pieces-not-programs-26-arxiv.pdf" data-base="/pieces-not-programs-26-arxiv">Pieces Not Programs</a></div> 542 542 <div class="detail">The Piece as a Unit of Creative Cognition &middot; arXiv 4pp</div> 543 543 <div class="abstract">A piece is treated here as the basic unit of creative cognition in AC. The paper argues that smaller, shareable pieces encourage composition, remix, and publication.</div> 544 544 - <div class="meta-row"><span class="author">@jeffrey</span><span class="created" title="Created">03/21</span><span class="revisions" title="Revision count">revision 2</span><span class="updated" title="Last updated">Mar 28 12:04</span></div> 544 544 + <div class="meta-row"><span class="author">@jeffrey</span><span class="created" title="Created">03/21</span><span class="revisions" title="Revision count">revision 2</span><span class="updated" title="Last updated">Apr 5 18:46</span></div> 545 545 </div> 546 546 547 547 - <div class="p" data-paper-id="notepat" data-created="2026-03-21" data-updated="2026-03-28T19:04:51.039Z"> 547 547 + <div class="p" data-paper-id="notepat" data-created="2026-03-21" data-updated="2026-04-06T01:46:31.740Z"> 548 548 <div class="title"><a href="/notepat-26-arxiv.pdf" data-base="/notepat-26-arxiv">notepat.com</a></div> 549 549 <div class="detail">From Keyboard Toy to System Front Door &middot; arXiv 5pp</div> 550 550 <div class="abstract">notepat.com is framed as a keyboard-first front door to the system. The paper follows the toy-like input surface as it grows into a fuller creative interface.</div> 551 551 - <div class="meta-row"><span class="author">@jeffrey</span><span class="created" title="Created">03/21</span><span class="revisions" title="Revision count">revision 2</span><span class="updated" title="Last updated">Mar 28 12:04</span></div> 551 551 + <div class="meta-row"><span class="author">@jeffrey</span><span class="created" title="Created">03/21</span><span class="revisions" title="Revision count">revision 2</span><span class="updated" title="Last updated">Apr 5 18:46</span></div> 552 552 </div> 553 553 554 554 - <div class="p" data-paper-id="goodiepal" data-created="2026-03-21" data-updated="2026-03-28T19:04:51.039Z"> 554 554 + <div class="p" data-paper-id="goodiepal" data-created="2026-03-21" data-updated="2026-04-06T01:46:31.739Z"> 555 555 <div class="title"><a href="/radical-computer-art-26-arxiv.pdf" data-base="/radical-computer-art-26-arxiv">Radical Computer Art</a></div> 556 556 <div class="detail">Goodiepalian Approaches in Aesthetic Computer &middot; arXiv 5pp</div> 557 557 <div class="abstract">This paper treats Goodiepalian practice as a model for radical computer art. It emphasizes play, notation, and the social life of systems over polished product design.</div> 558 558 - <div class="meta-row"><span class="author">@jeffrey</span><span class="created" title="Created">03/21</span><span class="revisions" title="Revision count">revision 2</span><span class="updated" title="Last updated">Mar 28 12:04</span></div> 558 558 + <div class="meta-row"><span class="author">@jeffrey</span><span class="created" title="Created">03/21</span><span class="revisions" title="Revision count">revision 2</span><span class="updated" title="Last updated">Apr 5 18:46</span></div> 559 559 </div> 560 560 561 561 - <div class="p" data-paper-id="whistlegraph" data-created="2026-03-21" data-updated="2026-03-28T19:04:51.040Z"> 561 561 + <div class="p" data-paper-id="whistlegraph" data-created="2026-03-21" data-updated="2026-04-06T01:46:31.741Z"> 562 562 <div class="title"><a href="/whistlegraph-26-arxiv.pdf" data-base="/whistlegraph-26-arxiv">Whistlegraph</a></div> 563 563 <div class="detail">Drawing, Singing, and the Graphic Score as Viral Form &middot; arXiv 4pp</div> 564 564 <div class="abstract">Whistlegraph explores drawing, singing, and score-making as forms that can spread like software. The paper links graphic notation to performance, remix, and browser-native sharing.</div> 565 565 - <div class="meta-row"><span class="author">@jeffrey</span><span class="created" title="Created">03/21</span><span class="revisions" title="Revision count">revision 2</span><span class="updated" title="Last updated">Mar 28 12:04</span></div> 565 565 + <div class="meta-row"><span class="author">@jeffrey</span><span class="created" title="Created">03/21</span><span class="revisions" title="Revision count">revision 2</span><span class="updated" title="Last updated">Apr 5 18:46</span></div> 566 566 </div> 567 567 568 568 - <div class="p" data-paper-id="complex" data-created="2026-03-21" data-updated="2026-03-28T19:04:51.040Z"> 568 568 + <div class="p" data-paper-id="complex" data-created="2026-03-21" data-updated="2026-04-06T01:46:31.742Z"> 569 569 <div class="title"><a href="/sucking-on-the-complex-26-arxiv.pdf" data-base="/sucking-on-the-complex-26-arxiv">Sucking on the Complex</a></div> 570 570 <div class="detail">Platform Hegemony, Critique-as-Content, and Anti-Environments &middot; arXiv 5pp</div> 571 571 <div class="abstract">Sucking on the Complex critiques platform hegemony and the way critique becomes content. It looks for anti-environments that stay messy, resistant, and alive.</div> 572 572 - <div class="meta-row"><span class="author">@jeffrey</span><span class="created" title="Created">03/21</span><span class="revisions" title="Revision count">revision 2</span><span class="updated" title="Last updated">Mar 28 12:04</span></div> 572 572 + <div class="meta-row"><span class="author">@jeffrey</span><span class="created" title="Created">03/21</span><span class="revisions" title="Revision count">revision 2</span><span class="updated" title="Last updated">Apr 5 18:46</span></div> 573 573 </div> 574 574 575 575 - <div class="p" data-paper-id="dead-ends" data-created="2026-03-21" data-updated="2026-03-28T19:04:51.038Z"> 575 575 + <div class="p" data-paper-id="dead-ends" data-created="2026-03-21" data-updated="2026-04-06T01:46:31.738Z"> 576 576 <div class="title"><a href="/dead-ends-26-arxiv.pdf" data-base="/dead-ends-26-arxiv">Vestigial Features</a></div> 577 577 <div class="detail">Dormant Paths, Evolutionary Branches, and Abandoned Approaches &middot; arXiv 4pp</div> 578 578 <div class="abstract">The paper catalogs dormant branches, abandoned experiments, and paths that never became default. It treats dead ends as useful history rather than failure.</div> 579 579 - <div class="meta-row"><span class="author">@jeffrey</span><span class="created" title="Created">03/21</span><span class="revisions" title="Revision count">revision 2</span><span class="updated" title="Last updated">Mar 28 12:04</span></div> 579 579 + <div class="meta-row"><span class="author">@jeffrey</span><span class="created" title="Created">03/21</span><span class="revisions" title="Revision count">revision 2</span><span class="updated" title="Last updated">Apr 5 18:46</span></div> 580 580 </div> 581 581 582 582 - <div class="p" data-paper-id="folk-songs" data-created="2026-03-21" data-updated="2026-03-28T19:04:51.040Z"> 582 582 + <div class="p" data-paper-id="folk-songs" data-created="2026-03-21" data-updated="2026-04-06T01:46:31.742Z"> 583 583 <div class="title"><a href="/folk-songs-26-arxiv.pdf" data-base="/folk-songs-26-arxiv">Playable Folk Songs</a></div> 584 584 <div class="detail">Oral Tradition Meets the Browser Keyboard &middot; arXiv</div> 585 585 <div class="abstract">Playable Folk Songs brings oral tradition into the browser keyboard. The paper asks how simple interaction can carry collective memory and repetition.</div> 586 586 - <div class="meta-row"><span class="author">@jeffrey</span><span class="created" title="Created">03/21</span><span class="revisions" title="Revision count">revision 2</span><span class="updated" title="Last updated">Mar 28 12:04</span></div> 586 586 + <div class="meta-row"><span class="author">@jeffrey</span><span class="created" title="Created">03/21</span><span class="revisions" title="Revision count">revision 2</span><span class="updated" title="Last updated">Apr 5 18:46</span></div> 587 587 </div> 588 588 589 589 - <div class="p" data-paper-id="archaeology" data-created="2026-03-21" data-updated="2026-03-28T19:04:51.038Z"> 589 589 + <div class="p" data-paper-id="archaeology" data-created="2026-03-21" data-updated="2026-04-06T01:46:31.737Z"> 590 590 <div class="title"><a href="/repo-archaeology-26-arxiv.pdf" data-base="/repo-archaeology-26-arxiv">Repository Archaeology</a></div> 591 591 <div class="detail">Tracing the Evolution of AC Through Its Git History &middot; arXiv 3pp &middot; <a href="/ac-repo-archaeology">interactive timeline</a></div> 592 592 <div class="abstract">Repository Archaeology traces the project through its git history. The paper shows how version control can become a narrative medium for design evolution.</div> 593 593 - <div class="meta-row"><span class="author">@jeffrey</span><span class="created" title="Created">03/21</span><span class="revisions" title="Revision count">revision 2</span><span class="updated" title="Last updated">Mar 28 12:04</span></div> 593 593 + <div class="meta-row"><span class="author">@jeffrey</span><span class="created" title="Created">03/21</span><span class="revisions" title="Revision count">revision 2</span><span class="updated" title="Last updated">Apr 5 18:46</span></div> 594 594 </div> 595 595 596 596 - <div class="p" data-paper-id="network-audit" data-created="2026-03-21" data-updated="2026-03-28T19:04:51.039Z"> 596 596 + <div class="p" data-paper-id="network-audit" data-created="2026-03-21" data-updated="2026-04-06T01:46:31.740Z"> 597 597 <div class="title"><a href="/network-audit-26-arxiv.pdf" data-base="/network-audit-26-arxiv">Network Audit</a></div> 598 598 <div class="detail">Who Uses Aesthetic Computer and What Do They Make? &middot; arXiv 4pp</div> 599 599 <div class="abstract">Network Audit asks who uses Aesthetic Computer and what they make with it. The paper turns usage patterns into a portrait of a community in motion.</div> 600 600 - <div class="meta-row"><span class="author">@jeffrey</span><span class="created" title="Created">03/21</span><span class="revisions" title="Revision count">revision 2</span><span class="updated" title="Last updated">Mar 28 12:04</span></div> 600 600 + <div class="meta-row"><span class="author">@jeffrey</span><span class="created" title="Created">03/21</span><span class="revisions" title="Revision count">revision 2</span><span class="updated" title="Last updated">Apr 5 18:46</span></div> 601 601 </div> 602 602 603 603 - <div class="p" data-paper-id="kidlisp-ref" data-created="2026-03-21" data-updated="2026-03-28T19:04:51.039Z"> 603 603 + <div class="p" data-paper-id="kidlisp-ref" data-created="2026-03-21" data-updated="2026-04-06T01:46:31.739Z"> 604 604 <div class="title"><a href="/kidlisp-reference-26-arxiv.pdf" data-base="/kidlisp-reference-26-arxiv">KidLisp Language Reference</a></div> 605 605 <div class="detail">118 Built-ins in 12 Categories &middot; arXiv 4pp</div> 606 606 <div class="abstract">The KidLisp reference compresses the language into a usable field guide. It groups 118 built-ins into 12 categories for quick browsing and recall.</div> 607 607 - <div class="meta-row"><span class="author">@jeffrey</span><span class="created" title="Created">03/21</span><span class="revisions" title="Revision count">revision 2</span><span class="updated" title="Last updated">Mar 28 12:04</span></div> 607 607 + <div class="meta-row"><span class="author">@jeffrey</span><span class="created" title="Created">03/21</span><span class="revisions" title="Revision count">revision 2</span><span class="updated" title="Last updated">Apr 5 18:46</span></div> 608 608 </div> 609 609 610 610 - <div class="p" data-paper-id="diversity" data-created="2026-03-21" data-updated="2026-03-28T19:04:51.038Z"> 610 610 + <div class="p" data-paper-id="diversity" data-created="2026-03-21" data-updated="2026-04-06T01:46:31.738Z"> 611 611 <div class="title"><a href="/citation-diversity-audit-26.pdf" data-base="/citation-diversity-audit-26">Citation Diversity Audit</a></div> 612 612 <div class="detail">Diversity and Inclusion in AC Paper Citations &middot; 4pp</div> 613 613 <div class="abstract">Citation Diversity Audit looks at who gets cited in the papers and where the archive is thin. The paper uses citation patterns as a proxy for inclusion and intellectual range.</div> 614 614 - <div class="meta-row"><span class="author">@jeffrey</span><span class="created" title="Created">03/21</span><span class="revisions" title="Revision count">revision 2</span><span class="updated" title="Last updated">Mar 28 12:04</span></div> 614 614 + <div class="meta-row"><span class="author">@jeffrey</span><span class="created" title="Created">03/21</span><span class="revisions" title="Revision count">revision 2</span><span class="updated" title="Last updated">Apr 5 18:46</span></div> 615 615 </div> 616 616 617 617 - <div class="p" data-paper-id="open-schools" data-created="" data-updated="2026-03-28T19:04:51.041Z"> 617 617 + <div class="p" data-paper-id="open-schools" data-created="" data-updated="2026-04-06T01:46:31.744Z"> 618 618 <div class="title"><a href="/open-schools-26-arxiv.pdf" data-base="/open-schools-26-arxiv">Get Closed Source Out of Schools</a></div> 619 619 <div class="detail"></div> 620 620 <div class="abstract">Get Closed Source Out of Schools makes the case that creative computing should be teachable, inspectable, and modifiable. The paper argues for open tools as infrastructure for learning.</div> 621 621 - <div class="meta-row"><span class="author">@jeffrey</span><span class="revisions" title="Revision count">revision 1</span><span class="updated" title="Last updated">Mar 28 12:04</span></div> 621 621 + <div class="meta-row"><span class="author">@jeffrey</span><span class="revisions" title="Revision count">revision 1</span><span class="updated" title="Last updated">Apr 5 18:46</span></div> 622 622 </div> 623 623 624 624 - <div class="p" data-paper-id="futures" data-created="2026-03-20" data-updated="2026-03-28T19:04:51.041Z"> 624 624 + <div class="p" data-paper-id="futures" data-created="2026-03-20" data-updated="2026-04-06T01:46:31.744Z"> 625 625 <div class="title"><a href="/five-years-from-now-26-arxiv.pdf" data-base="/five-years-from-now-26-arxiv">Five Years from Now</a></div> 626 626 <div class="detail"></div> 627 627 <div class="abstract">Five Years from Now is a projection paper about where the project could go if current habits continue. It uses the near future to test the consequences of today's decisions.</div> 628 628 - <div class="meta-row"><span class="author">@jeffrey</span><span class="created" title="Created">03/20</span><span class="revisions" title="Revision count">revision 2</span><span class="updated" title="Last updated">Mar 28 12:04</span></div> 628 628 + <div class="meta-row"><span class="author">@jeffrey</span><span class="created" title="Created">03/20</span><span class="revisions" title="Revision count">revision 2</span><span class="updated" title="Last updated">Apr 5 18:46</span></div> 629 629 </div> 630 630 631 631 - <div class="p" data-paper-id="calarts" data-psycho="1" data-created="2026-03-21" data-updated="2026-03-28T19:04:51.041Z"> 631 631 + <div class="p" data-paper-id="calarts" data-psycho="1" data-created="2026-03-21" data-updated="2026-04-06T01:46:31.744Z"> 632 632 <div class="title"><a href="/calarts-callouts-papers-26-arxiv.pdf" data-base="/calarts-callouts-papers-26-arxiv">CalArts, Callouts, and Papers</a></div> 633 633 <div class="detail"></div> 634 634 <div class="abstract">CalArts, Callouts, and Papers turns a local institutional context into a study of friction, attention, and production. The paper leans into psycho style to show how academic labor is staged and performed.</div> 635 635 - <div class="meta-row"><span class="author">@jeffrey</span><span class="created" title="Created">03/21</span><span class="revisions" title="Revision count">revision 2</span><span class="updated" title="Last updated">Mar 28 12:04</span></div> 635 635 + <div class="meta-row"><span class="author">@jeffrey</span><span class="created" title="Created">03/21</span><span class="revisions" title="Revision count">revision 2</span><span class="updated" title="Last updated">Apr 5 18:46</span></div> 636 636 </div> 637 637 638 638 - <div class="p" data-paper-id="identity" data-created="2026-03-27" data-updated="2026-03-28T19:07:25.893Z"> 638 638 + <div class="p" data-paper-id="identity" data-created="2026-03-27" data-updated="2026-04-06T01:46:31.745Z"> 639 639 <div class="title"><a href="/handle-identity-atproto-26-arxiv.pdf" data-base="/handle-identity-atproto-26-arxiv">Handle Identity on the AT Protocol</a></div> 640 640 <div class="detail"></div> 641 641 <div class="abstract">Handle Identity on the AT Protocol treats naming as a social and technical problem. The paper explores how handles, identity, and publishing can be tied together without losing portability.</div> 642 642 - <div class="meta-row"><span class="author">@jeffrey</span><span class="created" title="Created">03/27</span><span class="revisions" title="Revision count">revision 1</span><span class="updated" title="Last updated">Mar 28 12:07</span></div> 642 642 + <div class="meta-row"><span class="author">@jeffrey</span><span class="created" title="Created">03/27</span><span class="revisions" title="Revision count">revision 1</span><span class="updated" title="Last updated">Apr 5 18:46</span></div> 643 643 </div> 644 644 645 645 - <div class="p" data-paper-id="ucla-arts" data-created="2026-03-27" data-updated="2026-03-28T19:04:51.041Z"> 645 645 + <div class="p" data-paper-id="ucla-arts" data-created="2026-03-27" data-updated="2026-04-06T01:46:31.745Z"> 646 646 <div class="title"><a href="/ucla-arts-funding-26-arxiv.pdf" data-base="/ucla-arts-funding-26-arxiv">Two Departments, One Building</a></div> 647 647 <div class="detail"></div> 648 648 <div class="abstract">Two Departments, One Building examines how funding and infrastructure shape creative work in shared spaces. The paper looks at administrative boundaries as part of the artistic system.</div> 649 649 - <div class="meta-row"><span class="author">@jeffrey</span><span class="created" title="Created">03/27</span><span class="revisions" title="Revision count">revision 1</span><span class="updated" title="Last updated">Mar 28 12:04</span></div> 649 649 + <div class="meta-row"><span class="author">@jeffrey</span><span class="created" title="Created">03/27</span><span class="revisions" title="Revision count">revision 1</span><span class="updated" title="Last updated">Apr 5 18:46</span></div> 650 650 </div> 651 651 652 652 - <div class="p" data-paper-id="kidlisp-cards" data-created="2026-03-21" data-updated="2026-03-28T19:04:51.040Z"> 652 652 + <div class="p" data-paper-id="kidlisp-cards" data-created="2026-03-21" data-updated="2026-04-06T01:46:31.743Z"> 653 653 <div class="title"><a href="/kidlisp-cards-26-arxiv.pdf" data-base="/kidlisp-cards-26-arxiv">KidLisp Cards</a></div> 654 654 <div class="detail"></div> 655 655 <div class="abstract">KidLisp Cards condenses the language into a pocketable card format. It is meant to make the language easier to browse, teach, and carry.</div> 656 656 - <div class="meta-row"><span class="author">@jeffrey</span><span class="created" title="Created">03/21</span><span class="revisions" title="Revision count">revision 2</span><span class="updated" title="Last updated">Mar 28 12:04</span></div> 656 656 + <div class="meta-row"><span class="author">@jeffrey</span><span class="created" title="Created">03/21</span><span class="revisions" title="Revision count">revision 2</span><span class="updated" title="Last updated">Apr 5 18:46</span></div> 657 657 </div> 658 658 659 659 - <div class="p" data-paper-id="score-analysis" data-created="2026-03-21" data-updated="2026-03-28T19:04:51.041Z"> 659 659 + <div class="p" data-paper-id="score-analysis" data-created="2026-03-21" data-updated="2026-04-06T01:46:31.743Z"> 660 660 <div class="title"><a href="/reading-the-score-26-arxiv.pdf" data-base="/reading-the-score-26-arxiv">Reading the Score</a></div> 661 661 <div class="detail"></div> 662 662 <div class="abstract">Reading the Score looks at the graphic score as an interface for interpretation and collaboration. The paper treats notation as a computational and social object.</div> 663 663 - <div class="meta-row"><span class="author">@jeffrey</span><span class="created" title="Created">03/21</span><span class="revisions" title="Revision count">revision 2</span><span class="updated" title="Last updated">Mar 28 12:04</span></div> 663 663 + <div class="meta-row"><span class="author">@jeffrey</span><span class="created" title="Created">03/21</span><span class="revisions" title="Revision count">revision 2</span><span class="updated" title="Last updated">Apr 5 18:46</span></div> 664 664 + </div> 665 665 + 666 666 + <div class="p" data-paper-id="holden" data-no-cards="1" data-created="" data-updated="2026-04-06T01:46:31.746Z"> 667 667 + <div class="title"><a href="/potter-and-prompt-26-arxiv.pdf" data-base="/potter-and-prompt-26-arxiv">The Potter and the Prompt</a></div> 668 668 + <div class="detail">John Holden's Proto-Cognitive Music Theory and Aesthetic Computer &middot; arXiv 7pp</div> 669 669 + <div class="abstract">The Potter and the Prompt argues that AC independently converges on the core principles of John Holden's 1770 proto-cognitive music theory. It proposes AC as a computational laboratory for advancing Holden's unfinished program on grouping, attention, and the module.</div> 670 670 + <div class="meta-row"><span class="author">@jeffrey</span><span class="revisions" title="Revision count">revision 1</span><span class="updated" title="Last updated">Apr 5 18:46</span></div> 664 671 </div> 665 672 666 673 <div class="p" data-paper-id="els"> 667 674 <div class="title"><a href="/kidlisp-els-2026.pdf">KidLisp (ELS 2026)</a></div> 668 675 <div class="detail">A Minimal Lisp for Generative Art with Social Composition &middot; ELS ACM SIGS 4pp</div> 669 676 <div class="abstract">An ELS conference version of KidLisp that emphasizes social composition. It positions the language as a shared practice rather than a solo scripting environment.</div> 670 670 - <div class="meta-row"><span class="created" title="Created"></span><span class="revisions" title="Revisions"></span><span class="updated" title="Last updated">Mar 20 19:18</span></div> 677 677 + <div class="meta-row"><span class="created" title="Created"></span><span class="revisions" title="Revisions"></span><span class="updated" title="Last updated">Mar 15 02:05</span></div> 671 678 </div> 672 679 673 680 <div class="p" data-paper-id="joss-kidlisp"> 674 681 <div class="title"><a href="/kidlisp-26-joss.pdf">KidLisp '26</a></div> 675 682 <div class="detail">JOSS Summary &middot; 3pp</div> 676 683 <div class="abstract">A compact JOSS summary of KidLisp for archival and citation purposes. It frames the language as a small but expressive tool for generative art.</div> 677 677 - <div class="meta-row"><span class="created" title="Created"></span><span class="revisions" title="Revisions"></span><span class="updated" title="Last updated">Mar 20 19:18</span></div> 684 684 + <div class="meta-row"><span class="created" title="Created"></span><span class="revisions" title="Revisions"></span><span class="updated" title="Last updated">Mar 10 15:20</span></div> 678 685 </div> 679 686 680 687 <div class="p" data-paper-id="joss-ac"> 681 688 <div class="title"><a href="/aesthetic-computer-26-joss.pdf">Aesthetic Computer '26</a></div> 682 689 <div class="detail">JOSS Summary &middot; 2pp</div> 683 690 <div class="abstract">A compact JOSS summary of Aesthetic Computer for archival and citation purposes. It distills the platform into a conventional software paper format.</div> 684 684 - <div class="meta-row"><span class="created" title="Created"></span><span class="revisions" title="Revisions"></span><span class="updated" title="Last updated">Mar 20 19:18</span></div> 691 691 + <div class="meta-row"><span class="created" title="Created"></span><span class="revisions" title="Revisions"></span><span class="updated" title="Last updated">Mar 10 15:20</span></div> 685 692 </div> 686 693 687 694 <!-- papers-end -->

system/public/papers.aesthetic.computer/potter-and-prompt-26-arxiv.pdf

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