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papers/arxiv-goodiepal/goodiepal-cards.tex

reviewed

··· 72 72 73 73 In 2012, \gp{} published \emph{El Camino del Hardcore}~\citep{goodiepal2012elcamino}, a 191-page score for ``Radical Computer Music''---music made ``not only to be appreciated by human beings but also to be appreciated by a possible future artificial, or as I prefer to call it, alternative intelligence.'' The work is printed in Comic Sans and Courier on gray cardboard. It includes event photography designed to be ``possibly unscannable,'' correspondence with Roc Jim\'enez de Cisneros, and a rejected advertisement for a Radical Computer Lecture submitted to the \emph{Leonardo Music Journal}. It is, by conventional standards, unpublishable. 74 74 75 75 - \ac{}~\citep{scudder2026ac} is a mobile-first runtime and social network for creative computing. It is, by conventional standards, a software platform. It has a session server, a KidLisp interpreter, an NFT minting pipeline, and over 350 interactive programs called ``pieces.'' Its score is written in Markdown. Its logo is a pair of eyes called ``Pals.'' 75 75 + \ac{}~\citep{scudder2026ac} is a mobile-first runtime and social network for creative computing. It is, by conventional standards, a software platform. It has a session server, a KidLisp interpreter, an NFT minting pipeline, and over 350 interactive programs called ``pieces.'' Its score is written in Markdown. Its logo is two hand-drawn figures holding hands, called ``Pals.'' 76 76 77 77 The distance between these two projects is smaller than it appears. \ac{}'s design decisions---many of which seem like engineering choices---are better understood as Goodiepalian commitments: philosophical positions about who computing is for, what constitutes a creative instrument, how communities of practice should organize, and what it means for software to address non-human audiences. 78 78

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papers/arxiv-goodiepal/goodiepal.tex

reviewed

··· 108 108 109 109 In 2012, \gp{} published \emph{El Camino del Hardcore}~\citep{goodiepal2012elcamino}, a 191-page score for ``Radical Computer Music''---music made ``not only to be appreciated by human beings but also to be appreciated by a possible future artificial, or as I prefer to call it, alternative intelligence.'' The work is printed in Comic Sans and Courier on gray cardboard. It includes event photography designed to be ``possibly unscannable,'' correspondence with Roc Jim\'enez de Cisneros, and a rejected advertisement for a Radical Computer Lecture submitted to the \emph{Leonardo Music Journal}. It is, by conventional standards, unpublishable. 110 110 111 111 - \ac{}~\citep{scudder2026ac} is a mobile-first runtime and social network for creative computing. It is, by conventional standards, a software platform. It has a session server, a KidLisp interpreter, an NFT minting pipeline, and over 350 interactive programs called ``pieces.'' Its score is written in Markdown. Its logo is a pair of eyes called ``Pals.'' 111 111 + \ac{}~\citep{scudder2026ac} is a mobile-first runtime and social network for creative computing. It is, by conventional standards, a software platform. It has a session server, a KidLisp interpreter, an NFT minting pipeline, and over 350 interactive programs called ``pieces.'' Its score is written in Markdown. Its logo is two hand-drawn figures holding hands, called ``Pals.'' 112 112 113 113 The distance between these two projects is smaller than it appears. \ac{}'s design decisions---many of which seem like engineering choices---are better understood as Goodiepalian commitments: philosophical positions about who computing is for, what constitutes a creative instrument, how communities of practice should organize, and what it means for software to address non-human audiences. 114 114