lacma 2026: fix co-instructor name (Lauren Lee McCarthy, not Laurent Bourgault)

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grants/lacma-2026/LACMA-2026-APPLICATION-DRAFT.md

··· 94 94 95 95 ## Implementation Plan 96 96 97 - This proposal aligns to the Lab's new biennial calendar: a working-prototype milestone at the **2027 Symposium** and a completed public premiere at the **2028 Demo Day**. The cohort structure (3–5 recipients plus invitational projects) is well-suited to this work — AC Native's USB-bootable format means other cohort artists can bring their own pieces to the system and cross-pollinate at the Symposium without waiting for Demo Day. Casey Reas's 2023 Lab project *METAVASARELY and An Empty Room* is a near-lineage precedent; Reas is also Jeffrey's Author-in-Residence host at UCLA during this application year. 97 + This proposal aligns to the Lab's new biennial calendar: a working-prototype milestone at the **2027 Symposium** and a completed public premiere at the **2028 Demo Day**. The cohort structure (3–5 recipients plus invitational projects) is well-suited to this work — AC Native's USB-bootable format means other cohort artists can bring their own pieces to the system and cross-pollinate at the Symposium without waiting for Demo Day. Two recent Lab projects sit directly in our neighborhood: Casey Reas's 2023 *METAVASARELY and An Empty Room* (generative systems) and Lauren Lee McCarthy's 2022 *Auto* (public/social interface design). Reas and McCarthy co-teach UCLA's Social Software course, which Jeffrey is an Author in Residence in during this application year — their class is where the KidLisp cards shown in Fig. 3 were first printed and circulated. 98 98 99 99 | Phase | Timing | Milestones | 100 100 |-------|--------|------------| ··· 141 141 142 142 1. **platform-screenshot.jpg** — Aesthetic Computer running on mobile and desktop. Platform hosts 600+ interactive pieces across 2,800+ registered users. 143 143 2. **kidlisp-featured.jpg** — *$roz* by @jeffrey, a KidLisp generative piece with 6,000+ plays. 144 - 3. **card-gallery.jpg** — Four KidLisp pieces as printable cards ($berz, $24m, $duv, $kl1), produced for Casey Reas & Laurent Bourgault's "Social Software" course at UCLA (2026). Screenshot + source code + QR code per card, monochrome, 2.75″ × 4.75″. 144 + 3. **card-gallery.jpg** — Four KidLisp pieces as printable cards ($berz, $24m, $duv, $kl1), produced for Casey Reas & Lauren Lee McCarthy's "Social Software" course at UCLA (2026). Screenshot + source code + QR code per card, monochrome, 2.75″ × 4.75″. 145 145 4. **card-berz.jpg** — The $berz card at full size. Six lines of KidLisp produce a recursive wire-tangle that spins, zooms, and blurs each frame. 146 146 5. **hardware-yoga.jpg** — Target hardware: a Lenovo Yoga convertible running AC Native from USB. 147 147

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grants/lacma-2026/art-tech-lab-recipients.md

··· 19 19 20 20 | Artist | Project | Notes | 21 21 |---|---|---| 22 - | **Casey Reas** | *METAVASARELY and An Empty Room* | Computational/generative systems. **Jeffrey's current UCLA Author-in-Residence host.** Processing co-creator. Direct precedent for AC's language-as-art stance. | 22 + | **Casey Reas** | *METAVASARELY and An Empty Room* | Computational/generative systems. Processing co-creator. **Co-teaches UCLA Social Software with Lauren Lee McCarthy (2022 grantee); hosts Jeffrey's Author-in-Residence year.** Direct precedent for AC's language-as-art stance. | 23 23 | Tristan Duke | *Glacial Optics: Cold Cutting Edge* | Ice as optical material — innovative freezing and cutting. | 24 24 | Haleigh Nickerson | *Sojourner's Rovers* | Technology + exploration via space-rover navigation systems. | 25 25 | Patty Chang & David Kelley | *Stray Dog Hydrophobia* | Animal behavior + technological interfaces. Image used as 2026 announcement hero. | ··· 30 30 | Artist | Project | Notes | 31 31 |---|---|---| 32 32 | Daniel R. Small | *Techne* | Suburban infrastructure + spatial technology through urban grid systems. | 33 - | Lauren Lee McCarthy | *Auto* | Autonomous-vehicle testing; human–machine interaction in parking environments. | 33 + | **Lauren Lee McCarthy** | *Auto* | Autonomous-vehicle testing; human–machine interaction in parking environments. **Co-teaches UCLA Social Software with Casey Reas** — second direct lineage link from this proposal to a past Lab cohort. | 34 34 | Kelly Akashi | *Fissures* | Body + form through sculptural tech-informed approaches. | 35 35 | Nancy Baker Cahill | *Substrate* | Mycelium + biological systems as sculptural/technological material. | 36 36

grants/lacma-2026/lacma-2026.pdf

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grants/lacma-2026/lacma-2026.tex

··· 163 163 \includegraphics[height=0.285\textheight]{card-24m}\hspace{0.25em}% 164 164 \includegraphics[height=0.285\textheight]{card-duv}\hspace{0.25em}% 165 165 \includegraphics[height=0.285\textheight]{card-kl1}\\[6pt] 166 - {\small\color{acgray} \textbf{Fig.\,3} --- Four KidLisp pieces as printable cards: \textit{\$berz}, \textit{\$24m}, \textit{\$duv}, and \textit{\$kl1}. Each card is a self-contained program---the pixel image at top is the live output; the code underneath is the complete source. Printed cards were produced for Casey Reas \& Laurent Bourgault's ``Social Software'' course at UCLA (2026). QR codes link back to the live piece on \ac.} 166 + {\small\color{acgray} \textbf{Fig.\,3} --- Four KidLisp pieces as printable cards: \textit{\$berz}, \textit{\$24m}, \textit{\$duv}, and \textit{\$kl1}. Each card is a self-contained program---the pixel image at top is the live output; the code underneath is the complete source. Printed cards were produced for Casey Reas \& Lauren Lee McCarthy's ``Social Software'' course at UCLA (2026). QR codes link back to the live piece on \ac.} 167 167 \end{center} 168 168 169 169 \vspace{1em} ··· 198 198 % ======================================================================= 199 199 \achead{Timeline} 200 200 201 - This proposal aligns to the Lab's new biennial calendar: a working-prototype milestone at the \textbf{2027 Symposium} and a completed public premiere at the \textbf{2028 Demo Day}. The cohort structure (3--5 recipients plus invitational projects) is well-suited to this work---AC Native's USB-bootable format means other cohort artists can bring their own pieces to the system, and we can cross-pollinate at Symposium without waiting for Demo Day. Casey Reas's 2023 Lab project \textit{METAVASARELY and An Empty Room} is a near-lineage precedent; Reas is also my Author-in-Residence host at UCLA during this application year. 201 + This proposal aligns to the Lab's new biennial calendar: a working-prototype milestone at the \textbf{2027 Symposium} and a completed public premiere at the \textbf{2028 Demo Day}. The cohort structure (3--5 recipients plus invitational projects) is well-suited to this work---AC Native's USB-bootable format means other cohort artists can bring their own pieces to the system, and we can cross-pollinate at Symposium without waiting for Demo Day. Two recent Lab projects sit directly in our neighborhood: Casey Reas's 2023 \textit{METAVASARELY and An Empty Room} (generative systems) and Lauren Lee McCarthy's 2022 \textit{Auto} (public/social interface design). Reas and McCarthy co-teach UCLA's Social Software course, which I am an Author in Residence in during this application year---their class is where the KidLisp cards shown in Fig.\,3 were first printed and circulated. 202 202 203 203 \renewcommand{\arraystretch}{1.4} 204 204 \begin{tabularx}{\textwidth}{@{}lX@{}}

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system/public/lacma-2026/index.html

··· 407 407  408 408 <section> 409 409 <h2><span class="ord">§</span>KidLisp as Printable Cards<span class="count">2.75″ × 4.75″ · monochrome</span></h2> 410 - <p style="color:var(--dim);font-size:0.9em;margin-bottom:1em">Four recent pieces as printable cards, produced for <em style="color:var(--pink);font-style:normal">Casey Reas & Laurent Bourgault's Social Software</em> course at UCLA (Spring 2026). Each card is a complete, self-contained KidLisp program: pixel output at top, full source below, QR code linking back to the live piece.</p> 410 + <p style="color:var(--dim);font-size:0.9em;margin-bottom:1em">Four recent pieces as printable cards, produced for <em style="color:var(--pink);font-style:normal">Casey Reas & Lauren Lee McCarthy's Social Software</em> course at UCLA (Spring 2026). Each card is a complete, self-contained KidLisp program: pixel output at top, full source below, QR code linking back to the live piece.</p> 411 411 <div class="figs"> 412 412 <div class="fig"><a href="https://aesthetic.computer/$berz"><img src="/lacma-2026/card-berz.png" alt="$berz card"></a><div class="cap"><b>$berz</b> · 6 lines · recursive wire-tangle, spins + zooms + blurs</div></div> 413 413 <div class="fig"><a href="https://aesthetic.computer/$24m"><img src="/lacma-2026/card-24m.png" alt="$24m card"></a><div class="cap"><b>$24m</b> · 5 lines · hurricane spiral on a scroll-zoom loop</div></div> ··· 450 450 <h2><span class="ord">§</span>This Lab's Lineage<span class="count">45 projects · 2014–2023</span></h2> 451 451 <p style="color:var(--dim);margin-bottom:1em">A few Art + Technology Lab projects that mark out the territory this proposal enters. Full reference list in the <a href="https://github.com/whistlegraph/aesthetic-computer/blob/main/grants/lacma-2026/art-tech-lab-recipients.md">repo homework file</a>.</p> 452 452 <div class="lineage"> 453 - <div class="row"><div class="who">Casey Reas · 2023</div><div class="claim"><em>METAVASARELY and An Empty Room</em>. Computational + generative systems. Reas is also my Author-in-Residence host at UCLA in 2026 — the closest direct precedent for AC's language-as-art stance.</div></div> 453 + <div class="row"><div class="who">Casey Reas · 2023</div><div class="claim"><em>METAVASARELY and An Empty Room</em>. Computational + generative systems. Reas co-teaches UCLA's Social Software course and hosts my Author-in-Residence year — the closest direct precedent for AC's language-as-art stance.</div></div> 454 + <div class="row"><div class="who">Lauren Lee McCarthy · 2022</div><div class="claim"><em>Auto</em>. Autonomous-vehicle testing as a performance of human–machine interaction. McCarthy co-teaches Social Software with Reas — her public/social-interface practice is the other half of the lineage this proposal picks up.</div></div> 454 455 <div class="row"><div class="who">Kyle McDonald, Daisy Mahaina, Dr. Marianne George · 2020</div><div class="claim"><em>Te Lapa: Polynesian Navigation Illuminated</em>. Digital simulation documenting traditional Polynesian wayfinding. A public-tool precedent — code released so researchers elsewhere can use it.</div></div> 455 456 <div class="row"><div class="who">Rashaad Newsome · 2019</div><div class="claim"><em>Being</em>. Social humanoid robot confronting AI's questions around rights, bias, safety. AC's position: <em>AI inside a creative instrument</em> is a different axis from AI-as-artwork.</div></div> 456 457 <div class="row"><div class="who">Tom Sachs · 2019</div><div class="claim"><em>Transcendence Sphere</em>. VR synced with massage chairs, fans, misting systems. A kinfolk: art as custom-built physical instrument, not art via a software platform.</div></div>

system/public/lacma-2026/lacma-2026.pdf

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