This blue folder just arrived from Social
Software at UCLA.
Inside is Scores for Social Software, a
spring 2026 edition of 64 hand-produced artist
scores.
This is copy #51, assembled after ten
weeks of making, testing, and performing together.
I’m Jeffrey Alan Scudder.
My contribution is Notepat, a folded white
research paper that combines an illustrated player,
a QR code, instructions, and circular keyboard
diagrams.
Æther Cavendish’s Vigil Score arrives as a
matte-black folded packet, closed with a small
circular silver seal.
Chelly Jin’s Software as a Choreography presents
a grid of silhouetted hands and arms,
pairing each gesture with marks for timing
and movement.
Jordan Silver’s Sonic Architecture is a single
sheet of printed columns, large numbers, and
typewritten commands, anchored by a looping spiral
diagram for inhabiting and measuring space through
sound.
Em Lugo’s Cues for Losing Direction fits
on a small black card, its title
set in pale condensed type like a
portable instruction carried in the hand.
Darlyn Phan’s Line Piece 1 begins on
translucent white paper.
Its faint rainbow cast and minimal title
let the page behave like a line
or veil.
Thomas Noya’s Biophonía is a branching field
of blue, yellow, black, and beige organic
forms.
In the video, these cell-like clusters drift
and reorganize.
Banyi Huang’s A Cosmographic Score for Folding
Back into the Kernel centers a luminous
circle and a small diagram of connected
nodes inside a lavender field.
Alexander Espinosa’s Music for World Computers is
a white typographic score: awake, expand, decrease,
oxygen, forest, junk, cinnamon, hammer.
Mavyn Vu’s The Radio Is an Altar:
Portal combines translucent blue and white score
cards, a target-like radio image, small figures,
and instructions arranged around their edges.
Casey Reas facilitated the cycle, with Lauren
Lee McCarthy and the Social Software community.
Together, the contributions open many paths through
a question: if software organizes behavior, what
else can we ask it to organize?
If you’re watching this and know any
of the artists involved, feel free to
ask them to see their envelope.
Each artist received two editions as part
of the project: one to keep and
one to distribute.
This is Jeffrey.
Thanks for watching, and a friendly goodbye
from me and the Social Software Cohort
2.