Maybe we could think of it as a sort of meta- or hyper-avant-garde, that wanted not just a new way of communicating in a media but new kinds of media themselves. Kay and Nelson in particular wanted to give the possibility of creating new information structures to the user. For example, consider Richard Shoup’s, Superpaint, coded at Parc in 1973. Part of what it does is simulate real-world painting techniques. But it also added techniques that go beyond simulation, including copying, layering, scaling and grabbing frames from video. Its ‘paintbrush’ tool could behave in ways a paintbrush could not.