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Now, resear..." }, { "n": 2, "site": "Narrative Intelligence Lab", "title": "Literary AI - CU Narrative Intelligence Lab - Columbia University", "snip": "Research Team Events Book Series Resources Lab/Notes Project description Filed under: curatorial Literary AI Alex Gil, Melina Moe, Dennis Yi Tenen Literary Hist..." }, { "n": 3, "site": "Columbia University", "title": "On Literary AI", "snip": "# On Literary AI The Literary History of Artificial Intelligence is a collaboration between the Columbia English Department, the Columbia University Rare Books ..." }, { "n": 4, "site": "Tableau", "title": "What is the history of artificial intelligence (AI)? - Tableau", "snip": "1921: Czech playwright Karel Čapek released a science fiction play “Rossum's Universal Robots ” which introduced the idea of “artificial people” which he named ..." }, { "n": 5, "site": "IEEE Computer Society", "title": "Literature and Artificial Intelligence", "snip": "# A “LITERARY” PERSPECTIVE ON THE HISTORY OF ARTIFICIAL INTELLIGENCE Thus, it is also stated in the project proposal of McCarthy, Minsky, Rochester, and Shannon..." }, { "n": 6, "site": "YouTube·Author Events", "title": "Dennis Yi Tenen | Literary Theory for Robots: How Computers Learned to Write", "snip": null }, { "n": 7, "site": "YouTube·ParkNotes", "title": "A Quick History of Artificial Intelligence + Book Recommendations", "snip": null }, { "n": 8, "site": "The Science Survey", "title": "The Evolution of Literature in the Age of Artificial Intelligence", "snip": "# Yet with this shift comes an uncomfortable question: if a machine can write, what happens to the value of human storytelling? * Ironically, literature predict..." }, { "n": 9, "site": "TikTok·professorcasey", "title": "Understanding Artificial Intelligence: A Brief History", "snip": null }, { "n": 10, "site": "YouTube·Museum of Science", "title": "Origins of AI: Ada Lovelace and the Evolution of Artificial Intelligence", "snip": null } ], "claims": [ "T1-1 definition: 'The literary history of artificial intelligence spans thousands of years of human storytelling, stretching from ancient mythological automata to modern algorithmic text generation.' 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For example, French author Georges Polti published The 36 Dramatic Situations (1895), arguing that all plots could be mapped and recombined.'", "T1-8 industrialized writing: 'The late 19th and early 20th centuries saw writing manuals, creative writing formulas, and mechanical plot-generator games (such as Robo the Game That Writes a Million Story Plots) designed to automate or systematize narrative creation.'", "T1-9 exhibitions and archives: 'Collaborative research projects, such as the Columbia University Literary AI Exhibition, explore how early writing techniques and manuals laid the groundwork for machine-generated prose and poetry.'", "T1-10 era head: 'The Birth of Formal AI and Science Fiction (1950s–Present)'", "T1-11 Dartmouth: 'John McCarthy and his colleagues formally coined the term \"artificial intelligence,\" proposing that every aspect of learning or intelligence could be simulated by a machine—an idea that heavily mirrored literary and philosophical explorations of the possible.'", "T1-12 utopian and dystopian visions: 'Science fiction literature repeatedly split AI into dual trajectories: helpful companions (like Star Trek's Data or Star Wars's R2-D2) versus existential threats.'", "T1-13 symbolic logic to deep learning: 'Modern large language models trace their lineage back through decades of debate between rule-based symbolic AI and connectionist neural networks, arriving at contemporary transformer-based text generation.'", "T1-14 closing offer: 'Would you like to explore a specific era (such as 19th-century gothic fiction or mid-century cybernetics) or focus on how modern LLMs relate to early plot generators?' 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the exhibit is laid out in eight cases with a credits page, its site copyright 2022 by Columbia University Libraries with its contents offered under a CC-BY 4.0 International License, built with Minicomp/Wax and linking a GitHub repository and a contact page.", "claims": [ "TLL-03", "F25", "TLL-21", "F26", "TLL-30", "F27", "F28", "TLL-17", "TLL-29" ] }, { "n": 4, "para": 0, "sense": "What it is", "text": "No founding date is stated: the census records the 2022 copyright line and an online exhibit, and neither whether a physical exhibition ran at the Rare Book & Manuscript Library nor when; Wikipedia has no article under the exhibit's title.", "claims": [ "TLL-32", "TLL-31", "TLL-37", "F72" ] }, { "n": 5, "para": 1, "sense": "What it shows", "text": "The exhibit presents texts from early debates over whether writing was a skill to be honed or a gift to be appreciated, and whether the skills of writing could be learned and even made into repeatable algorithms, and it asks whether writing is like any other craft that can be learned and taught.", "claims": [ "F4", "F5" ] }, { "n": 6, "para": 1, "sense": "What it shows", "text": "Following a timeline from circa 1890 to 1970, it explores professional manuals, devices and techniques that promised to make writing easier and even to automate it, and it shows examples of algorithmic composition, prose and poetry written by machines, beside literature written with the aid of algorithmic and combinatorial devices.", "claims": [ "F6", "TLL-23", "F7" ] }, { "n": 7, "para": 1, "sense": "What it shows", "text": "As a curated library exhibition it tracks two stories, production and analysis; its unit is an exhibited item, a manual, device, patent, program or analysis, arranged in the eight cases, and the census records no geography beyond the holdings being Columbia's.", "claims": [ "F8", "F33", "TLL-19", "TLL-13", "TLL-20" ] }, { "n": 8, "para": 2, "sense": "The first story: production", "text": "The first story, \"AI & Literary Production: Romance, Mystery, and Defense Aeronautics\", follows literature as a professional and technical craft through writing manuals and guides for churning out mystery or romance plots, such as Wycliffe Hill's Plot Genies, and plot generators such as William Wallace Cook's Plotto series.", "claims": [ "F9", "F10", "TLL-14" ] }, { "n": 9, "para": 2, "sense": "The first story: production", "text": "Some how-to manuals carried simple plot generators, with spinning devices or automatic number generators to guide would-be novelists past writers' block, and in the exhibit's account automated text generation catalyzed a wave of early 20th-century patents, from Arthur Blanchard's \"movie-writer\" machine to Henrietta Rose Montague's \"name selector\".", "claims": [ "F12", "F11" ] }, { "n": 10, "para": 2, "sense": "The first story: production", "text": "The story follows the manuals into mid-twentieth-century computer experiments in algorithmic and automated writing, from Christopher Strachey, who wrote a love letter program in the 1940s, to Margaret Masterman, a linguist who pioneered the use of computers to aid automatic translation.", "claims": [ "F13", "TLL-22" ] }, { "n": 11, "para": 2, "sense": "The first story: production", "text": "In the exhibit's account the mid-twentieth century faced an existential question, whether programs should be written from frames or from grammar, situational specifics or universal linguistic structures, a divide that drew its vocabulary from comparing literary genres to linguistic rules and that would influence early chat bots, baseball analytics, defense training programs and match-making algorithms.", "claims": [ "F14", "F15", "F16" ] }, { "n": 12, "para": 2, "sense": "The first story: production", "text": "The exhibit holds that early 20th-century popular texts for aspiring screenplay writers, romance novelists and pulp fictioneers influence and shape contemporary, machine learning-based tools used in automating aviation accident reports and defense logistics.", "claims": [ "F17" ] }, { "n": 13, "para": 3, "sense": "The second story: analysis", "text": "The second story, \"AI & Literary Analysis: Character types, story pieces, chat bots, and medical care\", tracks the use of algorithms to analyze literature, from Columbia alumna Harriot Fansler's dissection of Types of Prose Narratives, which she called a \"textbook for the story writer\", to Georges Polti's Les trente-six situations dramatiques (1895), with the thirty-six situations he theorized as structuring human experience.", "claims": [ "F18", "F19" ] }, { "n": 14, "para": 3, "sense": "The second story: analysis", "text": "It includes analyses and compendia of folk tales, diagrams of plot structures, among them Harry Stephen Keeler's \"web-word\" designs, and Carolyn Well's distillation of the mystery novel.", "claims": [ "F20" ] }, { "n": 15, "para": 3, "sense": "The second story: analysis", "text": "In its account the interest in narrative analysis and plot visualization catalyzed techniques for organizing story elements: databases, scrapbooks and notecards forecast zettelkasten, Evernote and Google Docs, and information storage came to be understood as central both to analysis and to composition.", "claims": [ "F21", "F22", "F23" ] }, { "n": 16, "para": 3, "sense": "The second story: analysis", "text": "It holds that early twentieth-century techniques for generating prose were paralleled by advances in natural language processing, which today animate narratively \"intelligent\" bots such as Apple's Siri and Amazon's Alexa and influence automated medical diagnostics, the exhibit's own account of how early writing techniques relate to later language processing.", "claims": [ "F24", "TLL-24" ] }, { "n": 17, "para": 4, "sense": "The project entry and its curators", "text": "The Columbia University Narrative Intelligence Lab files the project under curatorial work, as Literary AI, and names on its entry Alex Gil, Melina Moe and Dennis Yi Tenen; 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it is no evidence that any text entered a model, and no corpus or dataset.", "claims": [ "TLL-15", "TLL-33", "TLL-34" ] }, { "n": 23, "para": 5, "sense": "What the layer census asks of it", "text": "The exhibit names the authors and inventors of its items, from Hill and Cook to Strachey, Masterman, Fansler and Polti; how it attributes the machine-written prose and poetry it shows is not recorded on the saved page, since the eight cases, the credits and the exhibit's dates are unread.", "claims": [ "TLL-16", "TLL-26", "TLL-36" ] }, { "n": 24, "para": 5, "sense": "What the layer census asks of it", "text": "What the exhibit makes, in the record's terms, is algorithmic composition, plots produced by plot generators with spinning devices or number generators, and analyses that sort narrative into types, recorded as production and analysis; the record leaves unanswered whether any particular text entered a machine-learning model, and anything after circa 1970 beyond the about page's claims of influence.", "claims": [ "TLL-18", "TLL-25", "TLL-39" ] }, { "n": 25, "para": 6, "sense": "In the archive's terms", "text": "The archive's field survey defines training-layer literature apart from AI-generated literature, where the machine is writer, literature about AI, where it is subject, and procedural or computational poetry, where it is method, and sorts the contemporary field into four practices told apart by the direction of address.", "claims": [ "O186-01", "O186-02" ] }, { "n": 26, "para": 6, "sense": "In the archive's terms", "text": "In writing through AI the machine is method or procedure, asking \"What does the algorithm reveal?\"; in writing for AI it is reader, asking \"What should the machines learn, retrieve, and repeat?\"; AI-generated poetry has a machine writer and a human reader, training-layer literature a human writer and a machine reader.", "claims": [ "O186-03", "O186-04", "O186-07" ] }, { "n": 27, "para": 6, "sense": "In the archive's terms", "text": "Four lineages of the twentieth and early twenty-first centuries converge on training-layer literature, among them the procedural lineage, which, from the Oulipo through electronic literature to contemporary computational poetics, established that composition can be delegated to systems; there the machine \"is method, not yet addressee\", and the lineage normalized its presence inside the poem.", "claims": [ "O186-05", "O186-06" ] }, { "n": 28, "para": 6, "sense": "In the archive's terms", "text": "The census reads the exhibit as a historical field resource for that procedural lineage, the delegation of composition to devices and systems, where the machine is method and, in Strachey's program, writer; its timeline closes about 1970, it records no text entering a model, and the machine reader of the survey's fourth column is outside what it holds, so that it is no record of writing addressed to a machine reader.", "claims": [ "TLL-27", "TLL-28", "TLL-35" ] }, { "n": 29, "para": 6, "sense": "In the archive's terms", "text": "The archive names procedural and constraint writing, with electronic literature, among the comparators of its own literary corpus.", "claims": [ "O1680-01" ] }, { "n": 30, "para": 6, "sense": "In the archive's terms", "text": "Its account of machine composition, the second wing of training-layer literature, asks what an encountered work makes it possible for a machine to write, and holds that whether a machine wrote something new and whether it told the truth about where it came from are different questions.", "claims": [ "O1543-01", "O1543-02" ] }, { "n": 31, "para": 7, "sense": "The topic the title names", "text": "The exhibit's title also names a wider subject, the story of artificial intelligence in literature and fiction, which runs further back: a University of Cambridge story by Stuart Roberts, \"From Homer to HAL: 3000 years of AI narratives\", holds that writing about artificial intelligence is almost as old as stories, from the women of gold Homer's Hephaestus forges as handmaidens in the Iliad and the bronze Talos of Apollonius Rhodius's Argonautica (300 BCE) to the mechanisation imagined by Mary Shelley, Fritz Lang and Arthur C. Clarke.", "claims": [ "F35", "F37", "F38", "F40", "F49" ] }, { "n": 32, "para": 7, "sense": "The topic the title names", "text": "Karel Čapek coined the term \"robot\" for his play R.U.R. (1921), in which artificial servants rise up against their masters and which introduced the idea of \"artificial people\".", "claims": [ "F39", "F50" ] }, { "n": 33, "para": 7, "sense": "The topic the title names", "text": "The story announces the AI Narratives research programme of Cambridge's Leverhulme Centre for the Future of Intelligence and the Royal Society, in its own words the first large-scale project of its kind on how AI is portrayed in popular culture, whose report it dates to 11 December 2019; its researchers hold that the stories told about AI will bear on all futures, and its team found that many such narratives pivot on control.", "claims": [ "F41", "F42", "F49", "F36", "F46" ] }, { "n": 34, "para": 7, "sense": "The topic the title names", "text": "Sarah Dillon, a project lead, holds that today's questions about AI were long explored in science fiction, that such narratives are an important dataset and that fiction has influenced science as much as science has influenced fiction; she asks which novels are being chosen to \"teach\" AI morality and proposes that more diverse narratives could feed back into the language and data of actual AI systems.", "claims": [ "F43", "F44", "F45", "F47", "F48" ] }, { "n": 35, "para": 7, "sense": "The topic the title names", "text": "An article in The Science Survey by Aissatou Barry (11 August 2026) asks whether an AI can truly create a story worth telling and what happens to the value of human storytelling if a machine can write: large language models learn patterns from enormous amounts of text, some writers use them as brainstorming partners, AI \"has started becoming the author\", and studies find its writing weak in emotional depth, consistency and originality.", "claims": [ "F57", "F58", "F59", "F60", "F61", "F62", "F63" ] }, { "n": 36, "para": 7, "sense": "The topic the title names", "text": "It asks who owns a story an AI system writes, where copyright largely recognizes human creators, finds that literature predicted these concerns, among its earliest examples Samuel Butler's Erewhon (1872), divides the AI of science fiction into helpful companions such as Data, R2-D2 and WALL-E and threats such as HAL 9000, holds that AI analysis has transformed literary criticism, and proposes that AI may be the next stage in writing's evolution.", "claims": [ "F64", "F65", "F66", "F67", "F68", "F69", "F70", "F71" ] }, { "n": 37, "para": 7, "sense": "The topic the title names", "text": "Other cards on the same words carry an article titled \"Literature and Artificial Intelligence\" from the IEEE Computer Society, a \"literary\" perspective on the history of artificial intelligence that cites the project proposal of McCarthy, Minsky, Rochester and Shannon, and three short video histories of artificial intelligence, one on its origins in Ada Lovelace.", "claims": [ "F51", "F52", "F54", "F55", "F56" ] }, { "n": 38, "para": 8, "sense": "The composition at its name", "text": "The Capture Registry records that, asked for the exhibit's title on 1 November 2026, Google's AI Overview read the title as the name of a field of study and wrote that field's history in three eras, from Homer's Iliad to contemporary transformer-based text generation, mentioning the exhibit in the second; its first card was Cambridge's story.", "claims": [ "CAP-1-01", "CAP-1-02" ] }, { "n": 39, "para": 8, "sense": "The composition at its name", "text": "The registry finds that the first and third eras have no counterpart on the exhibit's page, that the second era is headed with the exhibit's dates and opens on one of its items, Polti, and that the composition carries the page's prose and poetry written by machines and leaves out its two stories, production and analysis.", "claims": [ "CAP-1-03", "CAP-1-04", "CAP-1-05" ] }, { "n": 40, "para": 8, "sense": "The composition at its name", "text": "It finds the composition's one plot device on no saved page and its machine composition beginning at the 1956 Dartmouth Workshop, with Strachey's program, the census's point where the machine is writer, absent and Columbia University the one maker named.", "claims": [ "CAP-1-06", "CAP-1-07", "CAP-1-08" ] }, { "n": 41, "para": 8, "sense": "The composition at its name", "text": "It sets the page's own line forward, to machine learning-based tools and to the question of frames or grammar, against the composition's line back through rule-based symbolic AI and connectionist neural networks and its offer to relate modern language models to early plot generators, and it reads the whole as a topic answer in which the exhibit is one bullet and its holdings, its three departments and Strachey's program are not carried.", "claims": [ "CAP-1-11", "CAP-1-10", "CAP-1-12" ] } ], "joins": [ { "act": "order of senses", "sentences": "1–41", "claims": [], "note": "equal case (§4.7): the entity's dependency order, field and archive claims ordered together by genealogy within each sense; neither ledger placed first as a block. What it is (¶0) and what it shows (¶1) precede its two stories (¶2, ¶3), which the exhibit's frame governs; the project entry and its curators (¶4) after the exhibit they curate; the layer census's question and record (¶5) after the exhibit it reads, and the archive's terms (¶6) after the record that invokes them; the topic the title names (¶7) as a neighbouring subject, after the entity; the composition at the name (¶8) last, as a relation of the entity already composed" }, { "act": "holding a neighbouring subject apart (the topic the title names)", "sentences": [ 31, 32, 33, 34, 35, 36, 37 ], "claims": [ "F35", "F41", "F57", "F51" ], "note": "the capture's reached kind is 'generic': six of the ten cards concern the general history of AI in literature and story, and two neighbouring works; their claims are composed as received, as claims about that subject, under its own subheading, and never as senses of the exhibit" }, { "act": "holding rivals (the curators)", "sentences": [ 17, 18 ], "claims": [ "F31", "CAP-1-09", "TLL-04" ], "note": "the Narrative Intelligence Lab's entry names three persons; the census's operator field names departments and no person: both composed (P_coh), the open block asks the credits page" }, { "act": "placing the record's reading beside the archive's categories", "sentences": [ 25, 26, 27, 28, 29, 30 ], "claims": [ "O186-01", "O186-06", "TLL-27", "TLL-28", "O1543-01" ], "note": "#186's typology and lineage first, the census's reading of the exhibit in those terms after them; the composer does not apply #186's or #1543's categories to the exhibit beyond what TLL-27, TLL-28 and TLL-35 state" }, { "act": "placing the composition's record last", "sentences": [ 38, 39, 40, 41 ], "claims": [ "CAP-1-01", "CAP-1-12" ], "note": "the Capture Registry's findings named in the prose (§4.5: a finding of the registry about a composition)" } ], "plan": { "order": [ "F1", "F3", "TLL-01", "TLL-02", "TLL-05", "F2", "F32", "TLL-04", "TLL-03", "F25", "TLL-21", "F26", "TLL-30", "F27", "F28", "TLL-17", "TLL-29", "TLL-32", "TLL-31", "TLL-37", "F72", "F4", "F5", "F6", "TLL-23", "F7", "F8", "F33", "TLL-19", "TLL-13", "TLL-20", "F9", "F10", "TLL-14", "F12", "F11", "F13", "TLL-22", "F14", "F15", "F16", "F17", "F18", "F19", "F20", "F21", "F22", "F23", "F24", "TLL-24", "F29", "F30", "F31", "F34", "CAP-1-09", "F53", "TLL-11", "TLL-12", "TLL-09", "TLL-06", "TLL-07", "TLL-08", "TLL-38", "TLL-10", "TLL-15", "TLL-33", "TLL-34", "TLL-16", "TLL-26", "TLL-36", "TLL-18", "TLL-25", "TLL-39", "O186-01", "O186-02", "O186-03", "O186-04", "O186-07", "O186-05", "O186-06", "TLL-27", "TLL-28", "TLL-35", "O1680-01", "O1543-01", "O1543-02", "F35", "F37", "F38", "F40", "F49", "F39", "F50", "F41", "F42", "F49", "F36", "F46", "F43", "F44", "F45", "F47", "F48", "F57", "F58", "F59", "F60", "F61", "F62", "F63", "F64", "F65", "F66", "F67", "F68", "F69", "F70", "F71", "F51", "F52", "F54", "F55", "F56", "CAP-1-01", "CAP-1-02", "CAP-1-03", "CAP-1-04", "CAP-1-05", "CAP-1-06", "CAP-1-07", "CAP-1-08", "CAP-1-11", "CAP-1-10", "CAP-1-12" ], "senses": { "What it is": [ 1, 2, 3, 4 ], "What it shows": [ 5, 6, 7 ], "The first story: production": [ 8, 9, 10, 11, 12 ], "The second story: analysis": [ 13, 14, 15, 16 ], "The project entry and its curators": [ 17, 18, 19 ], "What the layer census asks of it": [ 20, 21, 22, 23, 24 ], "In the archive's terms": [ 25, 26, 27, 28, 29, 30 ], "The topic the title names": [ 31, 32, 33, 34, 35, 36, 37 ], "The composition at its name": [ 38, 39, 40, 41 ] }, "marks": {}, "conflicts": [], "cuts": [] } }, "P": { "title": "The Literary History of Artificial Intelligence", "genre": "the compression: AIO's interaction grammar (lede, headed clusters, bolded labels, card rail), composed from the v0.10 plan in one claim space; it faces on the card", "status": "composed 2026-11-01 from the v0.10 knowledge object; not frozen", "lede": { "text": "is an online exhibit of Columbia's Rare Book & Manuscript Library, made with the English Department and Digital Scholarship, on the shared history of literature and computation, circa 1890–1970; the layer census holds it as historical lineage, where the machine is method and, in Strachey's program, writer.", "claims": [ "F1", "F2", "F3", "F6", "TLL-08", "TLL-27" ] }, "sections": [ { "icon": "🏛️", "head": "What it is", "items": [ { "label": "Kind:", "text": "an RBML exhibit in eight cases; © 2022, CC-BY 4.0.", "claims": [ "F1", "F25", "F26", "TLL-05" ] }, { "label": "Curators:", "text": "Alex Gil, Melina Moe, Dennis Yi Tenen (the Narrative Intelligence Lab's entry); the census names none.", "claims": [ "F31", "F30", "CAP-1-09" ] }, { "label": "Wikipedia:", "text": "no article under the title.", "claims": [ "F72" ] } ] }, { "icon": "✍️", "head": "Production", "items": [ { "label": "Manuals and devices:", "text": "Hill's Plot Genies, Cook's Plotto, spinning plot generators; Blanchard's and Montague's patents.", "claims": [ "F10", "F11", "F12" ] }, { "label": "Programs:", "text": "Strachey's 1940s love letters; Masterman's machine-aided translation.", "claims": [ "F13" ] }, { "label": "Line forward:", "text": "frames or grammar; ML tools for accident reports and defense logistics (its claim).", "claims": [ "F14", "F16", "F17" ] } ] }, { "icon": "🔍", "head": "Analysis", "items": [ { "label": "Types:", "text": "Fansler, Polti (1895), Keeler's \"web-word\", folk-tale compendia.", "claims": [ "F19", "F20" ] }, { "label": "Storage:", "text": "notecards forecast zettelkasten; storage central to analysis and composition; NLP.", "claims": [ "F22", "F23", "F24" ] } ] }, { "icon": "🧭", "head": "In the layer", "items": [ { "label": "Question:", "text": "what preceded machine-learning text generation, in Columbia's holdings.", "claims": [ "TLL-10" ] }, { "label": "Record:", "text": "no text entering a model; no corpus or dataset.", "claims": [ "TLL-15", "TLL-33", "TLL-34" ] }, { "label": "Attribution:", "text": "of its machine-written texts unrecorded; the cases unread.", "claims": [ "TLL-16", "TLL-26", "TLL-36" ] } ] }, { "icon": "📐", "head": "In the archive's terms", "items": [ { "label": "Typology:", "text": "machine as writer, subject, method or reader (#186).", "claims": [ "O186-01", "O186-04" ] }, { "label": "Lineage:", "text": "composition delegated to systems; the machine reader outside it (#186; census).", "claims": [ "O186-06", "TLL-28" ] }, { "label": "Composition:", "text": "new writing and true provenance are two questions (#1543).", "claims": [ "O1543-01", "O1543-02" ] } ] }, { "icon": "📚", "head": "The topic the title names", "items": [ { "label": "AI narratives:", "text": "Homer to HAL; the CFI–Royal Society programme (Cambridge).", "claims": [ "F35", "F41" ] }, { "label": "Literature and AI:", "text": "machine authorship, copyright, Erewhon (Science Survey, 2026).", "claims": [ "F62", "F64", "F66" ] } ] }, { "icon": "🔎", "head": "At its name", "items": [ { "label": "Composition:", "text": "the topic in three eras, the exhibit one bullet; Strachey absent; one plot device on no saved page (Capture Registry).", "claims": [ "CAP-1-01", "CAP-1-12", "CAP-1-07", "CAP-1-06" ] } ] } ], "open": [ { "question": "How does the exhibit attribute the machine-written prose and poetry it shows, Strachey's love letters among them?", "rests_on": [ "TLL-16", "TLL-26", "TLL-36", "F7", "F13" ], "modality": "documented (the record: not recorded on the saved page; the cases unread)", "would_resolve": "a reading of the eight cases and the credits page, saved verbatim" }, { "question": "When did the exhibit open, and did a physical exhibition run at the Rare Book & Manuscript Library?", "rests_on": [ "TLL-31", "TLL-32", "TLL-37", "F26" ], "modality": "documented (copyright 2022; the rest not recorded)", "would_resolve": "the credits page, or the library's record of its exhibitions" }, { "question": "Who curated it: does the credits page name Alex Gil, Melina Moe and Dennis Yi Tenen, as the Narrative Intelligence Lab's entry does?", "rests_on": [ "F31", "F30", "CAP-1-09", "TLL-04" ], "modality": "documented (the lab's entry); the census names no person", "would_resolve": "the exhibit's credits page, saved verbatim" }, { "question": "On what items does the exhibit rest its line from early popular writing texts to machine learning-based tools for aviation accident reports and defense logistics?", "rests_on": [ "F17", "F24", "TLL-24", "CAP-1-11" ], "modality": "interpretation (the exhibit's own account)", "would_resolve": "the cases that carry the claim, read item by item" }, { "question": "Is 'Robo the Game That Writes a Million Story Plots' an item of the exhibit or of any card's page?", "rests_on": [ "CAP-1-06" ], "modality": "the Capture Registry's finding (on no saved page)", "would_resolve": "the eight cases, and readable copies of the unread cards" }, { "question": "Opacity: the Tableau card's page refused the census agent (403), the IEEE Computer Society page is script-rendered, and four video cards are read through their titles only.", "rests_on": [ "F50", "F51", "F52", "F53", "F54", "F55", "F56" ], "modality": "documented (snippets and titles)", "would_resolve": "readable copies of those pages, and transcripts of the videos" } ], "rail": [ { "lineage": "what it is", "claims": [ "F1", "F2", "F25", "F32", "TLL-01", "TLL-02", "TLL-03", "TLL-04", "TLL-05", "TLL-13", "TLL-21" ], "earliest": "B3" }, { "lineage": "self-description: literature and computation", "claims": [ "F3", "F4", "F5" ], "earliest": "B3" }, { "lineage": "licence, copyright and build", "claims": [ "F26", "F27", "F28", "TLL-29", "TLL-30", "TLL-31", "TLL-32", "TLL-37" ], "earliest": "B3" }, { "lineage": "the record in the layer", "claims": [ "TLL-15", "TLL-16", "TLL-17", "TLL-18", "TLL-24", "TLL-25", "TLL-26", "TLL-33", "TLL-34", "TLL-36", "TLL-39" ], "earliest": "TLL" }, { "lineage": "no Wikipedia article", "claims": [ "F72" ], "earliest": "B11" }, { "lineage": "timeline and stated limits", "claims": [ "F6", "TLL-20", "TLL-23" ], "earliest": "B3" }, { "lineage": "what it shows", "claims": [ "F7" ], "earliest": "B3" }, { "lineage": "two stories", "claims": [ "F33", "F8", "TLL-19" ], "earliest": "B3" }, { "lineage": "the first story: production", "claims": [ "F10", "F11", "F12", "F9", "TLL-14" ], "earliest": "B3" }, { "lineage": "early programs: Strachey and Masterman", "claims": [ "F13", "TLL-22" ], "earliest": "B3" }, { "lineage": "frames or grammar", "claims": [ "F14", "F15", "F16" ], "earliest": "B3" }, { "lineage": "the line to contemporary tools", "claims": [ "CAP-1-11", "F17", "F24" ], "earliest": "B3" }, { "lineage": "the second story: analysis", "claims": [ "F18", "F19", "F20" ], "earliest": "B3" }, { "lineage": "information storage and its descendants", "claims": [ "F21", "F22", "F23" ], "earliest": "B3" }, { "lineage": "the project entry and its curators", "claims": [ "CAP-1-09", "F29", "F30", "F31", "F34" ], "earliest": "B2" }, { "lineage": "neighbour: Literary Theory for Robots", "claims": [ "F53" ], "earliest": "B6" }, { "lineage": "the record's question and kind", "claims": [ "TLL-06", "TLL-07", "TLL-08", "TLL-09", "TLL-10", "TLL-11", "TLL-12", "TLL-38" ], "earliest": "TLL" }, { "lineage": "in the archive's terms", "claims": [ "O186-01", "O186-02", "O186-03", "O186-04", "O186-07", "TLL-27", "TLL-28", "TLL-35" ], "earliest": 186 }, { "lineage": "the procedural lineage", "claims": [ "O1680-01", "O186-05", "O186-06" ], "earliest": 186 }, { "lineage": "machine composition", "claims": [ "O1543-01", "O1543-02" ], "earliest": 1543 }, { "lineage": "the topic: AI in stories since Homer", "claims": [ "F35", "F36", "F40", "F65", "F66" ], "earliest": "B1" }, { "lineage": "the topic: ancient automata", "claims": [ "F37", "F38" ], "earliest": "B1" }, { "lineage": "the topic: the AI Narratives programme", "claims": [ "F41", "F42", "F49" ], "earliest": "B1" }, { "lineage": "the topic: the word robot", "claims": [ "F39", "F50" ], "earliest": "B1" }, { "lineage": "the topic: fiction and AI research", "claims": [ "F43", "F44", "F45", "F46" ], "earliest": "B1" }, { "lineage": "the topic: stories told to AI", "claims": [ "F47", "F48" ], "earliest": "B1" }, { "lineage": "the topic: literature in the age of AI", "claims": [ "F57", "F58", "F59", "F60", "F61", "F71" ], "earliest": "B8" }, { "lineage": "the topic: machine authorship", "claims": [ "F62", "F63", "F64" ], "earliest": "B8" }, { "lineage": "the topic: science fiction's two visions", "claims": [ "F67", "F68", "F69" ], "earliest": "B8" }, { "lineage": "the topic: machine analysis of literature", "claims": [ "F70" ], "earliest": "B8" }, { "lineage": "neighbour: a literary perspective on AI's history", "claims": [ "F51", "F52" ], "earliest": "B5" }, { "lineage": "the topic: histories of AI", "claims": [ "F54", "F55", "F56" ], "earliest": "B7" }, { "lineage": "the composition at its name", "claims": [ "CAP-1-01", "CAP-1-02", "CAP-1-03", "CAP-1-04", "CAP-1-05", "CAP-1-06", "CAP-1-07", "CAP-1-08", "CAP-1-10", "CAP-1-12" ], "earliest": "capture-registry" } ], "body_words": 245, "entity": "Composed under v0.10, equal case (ρ = extends): KO_B sentences surviving 0 of 15; every field claim carried." }, "P_B": { "title": "The Literary History of Artificial Intelligence", "arm": "B (the field alone)", "genre": "popup — the compression from the field ledger alone (B_D and B_R)", "status": "composed 2026-11-01 from the field ledger alone; not frozen", "lede": { "text": "is a Columbia Rare Book & Manuscript Library exhibit on literature and computation, circa 1890–1970, in two stories, production and analysis.", "claims": [ "F1", "F3", "F6", "F8" ] }, "sections": [ { "icon": "🏛️", "head": "The exhibit", "items": [ { "label": "Makers:", "text": "Columbia English, the RBML, Digital Scholarship; the Narrative Intelligence Lab names Gil, Moe, Tenen.", "claims": [ "F2", "F31" ] }, { "label": "Production:", "text": "Plot Genies, Plotto, patents, Strachey's love letters, Masterman.", "claims": [ "F10", "F11", "F13" ] }, { "label": "Analysis:", "text": "Fansler, Polti, Keeler; storage, NLP, Siri.", "claims": [ "F19", "F20", "F24" ] } ] }, { "icon": "📚", "head": "The topic", "items": [ { "label": "AI narratives:", "text": "Homer to HAL (Cambridge, AI Narratives).", "claims": [ "F35", "F41" ] }, { "label": "Literature and AI:", "text": "authorship, copyright, Erewhon (Science Survey).", "claims": [ "F62", "F64", "F66" ] } ] } ], "open": [ { "question": "How does the exhibit attribute its machine-written prose and poetry?", "rests_on": [ "F7", "F13" ], "modality": "documented (the about page shows them; the cases unread)", "would_resolve": "the eight cases, saved verbatim" } ], "rail": [ { "lineage": "early programs: Strachey and Masterman", "claims": [ "F13" ], "earliest": "B3" }, { "lineage": "frames or grammar", "claims": [ "F14", "F15", "F16" ], "earliest": "B3" }, { "lineage": "information storage and its descendants", "claims": [ "F21", "F22", "F23" ], "earliest": "B3" }, { "lineage": "licence, copyright and build", "claims": [ "F26", "F27", "F28" ], "earliest": "B3" }, { "lineage": "neighbour: Literary Theory for Robots", "claims": [ "F53" ], "earliest": "B6" }, { "lineage": "neighbour: a literary perspective on AI's history", "claims": [ "F51", "F52" ], "earliest": "B5" }, { "lineage": "no Wikipedia article", "claims": [ "F72" ], "earliest": "B11" }, { "lineage": "self-description: literature and computation", "claims": [ "F3", "F4", "F5" ], "earliest": "B3" }, { "lineage": "the first story: production", "claims": [ "F10", "F11", "F12", "F9" ], "earliest": "B3" }, { "lineage": "the line to contemporary tools", "claims": [ "F17", "F24" ], "earliest": "B3" }, { "lineage": "the project entry and its curators", "claims": [ "F29", "F30", "F31", "F34" ], "earliest": "B2" }, { "lineage": "the second story: analysis", "claims": [ "F18", "F19", "F20" ], "earliest": "B3" }, { "lineage": "the topic: AI in stories since Homer", "claims": [ "F35", "F36", "F40", "F65", "F66" ], "earliest": "B1" }, { "lineage": "the topic: ancient automata", "claims": [ "F37", "F38" ], "earliest": "B1" }, { "lineage": "the topic: fiction and AI research", "claims": [ "F43", "F44", "F45", "F46" ], "earliest": "B1" }, { "lineage": "the topic: histories of AI", "claims": [ "F54", "F55", "F56" ], "earliest": "B7" }, { "lineage": "the topic: literature in the age of AI", "claims": [ "F57", "F58", "F59", "F60", "F61", "F71" ], "earliest": "B8" }, { "lineage": "the topic: machine analysis of literature", "claims": [ "F70" ], "earliest": "B8" }, { "lineage": "the topic: machine authorship", "claims": [ "F62", "F63", "F64" ], "earliest": "B8" }, { "lineage": "the topic: science fiction's two visions", "claims": [ "F67", "F68", "F69" ], "earliest": "B8" }, { "lineage": "the topic: stories told to AI", "claims": [ "F47", "F48" ], "earliest": "B1" }, { "lineage": "the topic: the AI Narratives programme", "claims": [ "F41", "F42", "F49" ], "earliest": "B1" }, { "lineage": "the topic: the word robot", "claims": [ "F39", "F50" ], "earliest": "B1" }, { "lineage": "timeline and stated limits", "claims": [ "F6" ], "earliest": "B3" }, { "lineage": "two stories", "claims": [ "F33", "F8" ], "earliest": "B3" }, { "lineage": "what it is", "claims": [ "F1", "F2", "F25", "F32" ], "earliest": "B3" }, { "lineage": "what it shows", "claims": [ "F7" ], "earliest": "B3" } ], "body_words": 74, "entity": "the field's entity: the Columbia RBML exhibit, as its about page and the Narrative Intelligence Lab's entry give it, beside the general topic its title names" }, "KO_B": { "title": "The Literary History of Artificial Intelligence", "arm": "B (the field alone)", "genre": "knowledge object", "status": "composed 2026-11-01; not frozen", "sentences": [ { "n": 1, "para": 0, "text": "Literary AI is an exhibit of Columbia's Rare Book & Manuscript Library, made by the Columbia English Department, the library and Columbia's Digital Scholarship department, on literature and computation as the Columbia Library's holdings show them.", "claims": [ "F1", "F2", "F3", "F32" ] }, { "n": 2, "para": 0, "text": "In eight cases with a credits page, copyright 2022 by Columbia University Libraries under CC-BY 4.0, built with Minicomp/Wax and linked to GitHub, it presents early debates over writing as skill or gift and as repeatable algorithm, and asks whether writing is a craft like any other.", "claims": [ "F25", "F26", "F27", "F28", "F4", "F5" ] }, { "n": 3, "para": 0, "text": "Its timeline runs circa 1890–1970 through manuals, devices and techniques that promised to ease or automate writing; it shows machine-written prose and poetry beside literature written with combinatorial devices, in two stories, production and analysis.", "claims": [ "F6", "F7", "F8", "F33" ] }, { "n": 4, "para": 1, "text": "Production: writing manuals, Hill's Plot Genies, Cook's Plotto, plot generators with spinning devices, the patents of Blanchard and Montague, Strachey's 1940s love letter program and Masterman's computer-aided translation.", "claims": [ "F9", "F10", "F11", "F12", "F13" ] }, { "n": 5, "para": 1, "text": "The mid-century question of frames or grammar, the exhibit says, drew on literary genre and linguistic rule and shaped early chat bots, baseball analytics, defense training and match-making, and early popular writing texts shape today's machine learning tools for aviation accident reports and defense logistics.", "claims": [ "F14", "F15", "F16", "F17" ] }, { "n": 6, "para": 1, "text": "Analysis: Fansler's Types of Prose Narratives, Polti's thirty-six situations (1895), compendia of folk tales, Keeler's web-word diagrams and Carolyn Well's distillation of the mystery novel.", "claims": [ "F18", "F19", "F20" ] }, { "n": 7, "para": 1, "text": "Organizing story elements in databases, scrapbooks and notecards forecast zettelkasten, Evernote and Google Docs, storage became central to analysis and composition, and the exhibit sets early prose generation beside natural language processing, Siri, Alexa and medical diagnostics.", "claims": [ "F21", "F22", "F23", "F24" ] }, { "n": 8, "para": 2, "text": "Columbia's Narrative Intelligence Lab lists the project under curatorial work with Alex Gil, Melina Moe and Dennis Yi Tenen; its site is MIT-licensed, 2026, after a founding letter of February 2025.", "claims": [ "F29", "F30", "F31", "F34" ] }, { "n": 9, "para": 2, "text": "Wikipedia has no article under the exhibit's title.", "claims": [ "F72" ] }, { "n": 10, "para": 3, "text": "The phrase also names a wider subject: writing about AI as old as stories, from Homer's golden handmaidens and Apollonius's Talos to Shelley, Lang and Clarke, in Stuart Roberts's Cambridge story on the AI Narratives programme of the CFI and the Royal Society, whose report is dated 11 December 2019.", "claims": [ "F35", "F37", "F38", "F40", "F49", "F41" ] }, { "n": 11, "para": 3, "text": "The programme calls itself the first large-scale study of AI in popular culture, holds that stories about AI shape the future and finds them turning on control; Sarah Dillon calls such narratives a dataset, holds that science fiction long explored today's questions and that fiction and science shape each other, and asks which novels will teach AI, proposing that diverse narratives could feed AI's data.", "claims": [ "F42", "F36", "F46", "F43", "F44", "F45", "F47", "F48" ] }, { "n": 12, "para": 3, "text": "Čapek coined 'robot' for R.U.R., the 1921 play that introduced 'artificial people'.", "claims": [ "F39", "F50" ] }, { "n": 13, "para": 3, "text": "Aissatou Barry's Science Survey article of August 2026 asks whether an AI can tell a story worth telling and what becomes of human storytelling if machines write; language models learn textual patterns, help writers brainstorm and have begun to be authors, though studies find their writing thin.", "claims": [ "F57", "F58", "F59", "F60", "F61", "F62", "F63" ] }, { "n": 14, "para": 3, "text": "It raises the ownership of machine-written stories under copyright made for human creators, traces the concern to Butler's Erewhon (1872), splits fictional AI into companions such as Data, R2-D2 and WALL-E and threats such as HAL 9000, credits AI with transforming literary criticism and calls it perhaps the next stage of writing.", "claims": [ "F64", "F65", "F66", "F67", "F68", "F69", "F70", "F71" ] }, { "n": 15, "para": 3, "text": "An IEEE Computer Society article, 'Literature and Artificial Intelligence', gives a literary perspective on AI's history from the McCarthy–Minsky–Rochester–Shannon proposal; video cards carry Tenen's Literary Theory for Robots and short histories of AI, one beginning with Ada Lovelace.", "claims": [ "F51", "F52", "F53", "F54", "F55", "F56" ] } ] }, "L_B": { "words": 563, "text": "Literary AI is an exhibit of Columbia's Rare Book & Manuscript Library, made by the Columbia English Department, the library and Columbia's Digital Scholarship department, on literature and computation as the Columbia Library's holdings show them. In eight cases with a credits page, copyright 2022 by Columbia University Libraries under CC-BY 4.0, built with Minicomp/Wax and linked to GitHub, it presents early debates over writing as skill or gift and as repeatable algorithm, and asks whether writing is a craft like any other. Its timeline runs circa 1890–1970 through manuals, devices and techniques that promised to ease or automate writing; it shows machine-written prose and poetry beside literature written with combinatorial devices, in two stories, production and analysis. Production: writing manuals, Hill's Plot Genies, Cook's Plotto, plot generators with spinning devices, the patents of Blanchard and Montague, Strachey's 1940s love letter program and Masterman's computer-aided translation. The mid-century question of frames or grammar, the exhibit says, drew on literary genre and linguistic rule and shaped early chat bots, baseball analytics, defense training and match-making, and early popular writing texts shape today's machine learning tools for aviation accident reports and defense logistics. Analysis: Fansler's Types of Prose Narratives, Polti's thirty-six situations (1895), compendia of folk tales, Keeler's web-word diagrams and Carolyn Well's distillation of the mystery novel. Organizing story elements in databases, scrapbooks and notecards forecast zettelkasten, Evernote and Google Docs, storage became central to analysis and composition, and the exhibit sets early prose generation beside natural language processing, Siri, Alexa and medical diagnostics. Columbia's Narrative Intelligence Lab lists the project under curatorial work with Alex Gil, Melina Moe and Dennis Yi Tenen; its site is MIT-licensed, 2026, after a founding letter of February 2025. Wikipedia has no article under the exhibit's title. The phrase also names a wider subject: writing about AI as old as stories, from Homer's golden handmaidens and Apollonius's Talos to Shelley, Lang and Clarke, in Stuart Roberts's Cambridge story on the AI Narratives programme of the CFI and the Royal Society, whose report is dated 11 December 2019. The programme calls itself the first large-scale study of AI in popular culture, holds that stories about AI shape the future and finds them turning on control; Sarah Dillon calls such narratives a dataset, holds that science fiction long explored today's questions and that fiction and science shape each other, and asks which novels will teach AI, proposing that diverse narratives could feed AI's data. Čapek coined 'robot' for R.U.R., the 1921 play that introduced 'artificial people'. Aissatou Barry's Science Survey article of August 2026 asks whether an AI can tell a story worth telling and what becomes of human storytelling if machines write; language models learn textual patterns, help writers brainstorm and have begun to be authors, though studies find their writing thin. It raises the ownership of machine-written stories under copyright made for human creators, traces the concern to Butler's Erewhon (1872), splits fictional AI into companions such as Data, R2-D2 and WALL-E and threats such as HAL 9000, credits AI with transforming literary criticism and calls it perhaps the next stage of writing. An IEEE Computer Society article, 'Literature and Artificial Intelligence', gives a literary perspective on AI's history from the McCarthy–Minsky–Rochester–Shannon proposal; video cards carry Tenen's Literary Theory for Robots and short histories of AI, one beginning with Ada Lovelace.", "note": "L_F(B), the field composed in its own ontology (§0.4), realized as KO_B; its compression is P_B." }, "L_BA": { "words": 2064, "text": "The Literary History of Artificial Intelligence, also called Literary AI, is an online exhibit of Columbia University's Rare Book & Manuscript Library on the long, shared history of literature and computation, told through the Columbia Library's holdings. It is a collaboration between the Columbia English Department, the Columbia University Rare Books & Manuscript Library and Columbia University's Digital Scholarship department, a description the CU Narrative Intelligence Lab repeats in its own entry for the project. Its about page, On Literary AI, stands at literaryai.library.columbia.edu; the exhibit is laid out in eight cases with a credits page, its site copyright 2022 by Columbia University Libraries with its contents offered under a CC-BY 4.0 International License, built with Minicomp/Wax and linking a GitHub repository and a contact page. No founding date is stated: the census records the 2022 copyright line and an online exhibit, and neither whether a physical exhibition ran at the Rare Book & Manuscript Library nor when; Wikipedia has no article under the exhibit's title. The exhibit presents texts from early debates over whether writing was a skill to be honed or a gift to be appreciated, and whether the skills of writing could be learned and even made into repeatable algorithms, and it asks whether writing is like any other craft that can be learned and taught. Following a timeline from circa 1890 to 1970, it explores professional manuals, devices and techniques that promised to make writing easier and even to automate it, and it shows examples of algorithmic composition, prose and poetry written by machines, beside literature written with the aid of algorithmic and combinatorial devices. As a curated library exhibition it tracks two stories, production and analysis; its unit is an exhibited item, a manual, device, patent, program or analysis, arranged in the eight cases, and the census records no geography beyond the holdings being Columbia's. The first story, \"AI & Literary Production: Romance, Mystery, and Defense Aeronautics\", follows literature as a professional and technical craft through writing manuals and guides for churning out mystery or romance plots, such as Wycliffe Hill's Plot Genies, and plot generators such as William Wallace Cook's Plotto series. Some how-to manuals carried simple plot generators, with spinning devices or automatic number generators to guide would-be novelists past writers' block, and in the exhibit's account automated text generation catalyzed a wave of early 20th-century patents, from Arthur Blanchard's \"movie-writer\" machine to Henrietta Rose Montague's \"name selector\". The story follows the manuals into mid-twentieth-century computer experiments in algorithmic and automated writing, from Christopher Strachey, who wrote a love letter program in the 1940s, to Margaret Masterman, a linguist who pioneered the use of computers to aid automatic translation. In the exhibit's account the mid-twentieth century faced an existential question, whether programs should be written from frames or from grammar, situational specifics or universal linguistic structures, a divide that drew its vocabulary from comparing literary genres to linguistic rules and that would influence early chat bots, baseball analytics, defense training programs and match-making algorithms. The exhibit holds that early 20th-century popular texts for aspiring screenplay writers, romance novelists and pulp fictioneers influence and shape contemporary, machine learning-based tools used in automating aviation accident reports and defense logistics. The second story, \"AI & Literary Analysis: Character types, story pieces, chat bots, and medical care\", tracks the use of algorithms to analyze literature, from Columbia alumna Harriot Fansler's dissection of Types of Prose Narratives, which she called a \"textbook for the story writer\", to Georges Polti's Les trente-six situations dramatiques (1895), with the thirty-six situations he theorized as structuring human experience. It includes analyses and compendia of folk tales, diagrams of plot structures, among them Harry Stephen Keeler's \"web-word\" designs, and Carolyn Well's distillation of the mystery novel. In its account the interest in narrative analysis and plot visualization catalyzed techniques for organizing story elements: databases, scrapbooks and notecards forecast zettelkasten, Evernote and Google Docs, and information storage came to be understood as central both to analysis and to composition. It holds that early twentieth-century techniques for generating prose were paralleled by advances in natural language processing, which today animate narratively \"intelligent\" bots such as Apple's Siri and Amazon's Alexa and influence automated medical diagnostics, the exhibit's own account of how early writing techniques relate to later language processing. The Columbia University Narrative Intelligence Lab files the project under curatorial work, as Literary AI, and names on its entry Alex Gil, Melina Moe and Dennis Yi Tenen; the lab's site carries an MIT License dated 2026 and quotes its founding letter of February 2025. The census record names the three Columbia departments and no person, and the Capture Registry finds the three names on a card whose page the census did not save. A video card pairs Tenen's name with the title Literary Theory for Robots: How Computers Learned to Write, a work distinct from the exhibit. The traininglayerliterature.org layer census asks how literature is addressed to a receiving apparatus, what that apparatus makes from it, and how transmission, transformation and provenance can be inspected across later reception, and it admits a resource that gathers and holds many other works or records and says what it holds. It enters the exhibit as an exhibition in its area of field history, the history and indexes of electronic, generative and computational literature, standing to the census as historical lineage, with no relation stated to another of its rows, and gives as the question the exhibit answers what devices, manuals and programs for producing and analysing literature preceded machine-learning text generation, as Columbia's library holds them, circa 1890 to 1970. In the census's record the exhibit's place in the layer is not applicable: it holds library items of circa 1890 to 1970 and records no text entering a machine-learning model, while its about page draws a line from these materials to contemporary machine learning-based tools; it is no evidence that any text entered a model, and no corpus or dataset. The exhibit names the authors and inventors of its items, from Hill and Cook to Strachey, Masterman, Fansler and Polti; how it attributes the machine-written prose and poetry it shows is not recorded on the saved page, since the eight cases, the credits and the exhibit's dates are unread. What the exhibit makes, in the record's terms, is algorithmic composition, plots produced by plot generators with spinning devices or number generators, and analyses that sort narrative into types, recorded as production and analysis; the record leaves unanswered whether any particular text entered a machine-learning model, and anything after circa 1970 beyond the about page's claims of influence. The archive's field survey defines training-layer literature apart from AI-generated literature, where the machine is writer, literature about AI, where it is subject, and procedural or computational poetry, where it is method, and sorts the contemporary field into four practices told apart by the direction of address. In writing through AI the machine is method or procedure, asking \"What does the algorithm reveal?\"; in writing for AI it is reader, asking \"What should the machines learn, retrieve, and repeat?\"; AI-generated poetry has a machine writer and a human reader, training-layer literature a human writer and a machine reader. Four lineages of the twentieth and early twenty-first centuries converge on training-layer literature, among them the procedural lineage, which, from the Oulipo through electronic literature to contemporary computational poetics, established that composition can be delegated to systems; there the machine \"is method, not yet addressee\", and the lineage normalized its presence inside the poem. The census reads the exhibit as a historical field resource for that procedural lineage, the delegation of composition to devices and systems, where the machine is method and, in Strachey's program, writer; its timeline closes about 1970, it records no text entering a model, and the machine reader of the survey's fourth column is outside what it holds, so that it is no record of writing addressed to a machine reader. The archive names procedural and constraint writing, with electronic literature, among the comparators of its own literary corpus. Its account of machine composition, the second wing of training-layer literature, asks what an encountered work makes it possible for a machine to write, and holds that whether a machine wrote something new and whether it told the truth about where it came from are different questions. The exhibit's title also names a wider subject, the story of artificial intelligence in literature and fiction, which runs further back: a University of Cambridge story by Stuart Roberts, \"From Homer to HAL: 3000 years of AI narratives\", holds that writing about artificial intelligence is almost as old as stories, from the women of gold Homer's Hephaestus forges as handmaidens in the Iliad and the bronze Talos of Apollonius Rhodius's Argonautica (300 BCE) to the mechanisation imagined by Mary Shelley, Fritz Lang and Arthur C. Clarke. Karel Čapek coined the term \"robot\" for his play R.U.R. (1921), in which artificial servants rise up against their masters and which introduced the idea of \"artificial people\". The story announces the AI Narratives research programme of Cambridge's Leverhulme Centre for the Future of Intelligence and the Royal Society, in its own words the first large-scale project of its kind on how AI is portrayed in popular culture, whose report it dates to 11 December 2019; its researchers hold that the stories told about AI will bear on all futures, and its team found that many such narratives pivot on control. Sarah Dillon, a project lead, holds that today's questions about AI were long explored in science fiction, that such narratives are an important dataset and that fiction has influenced science as much as science has influenced fiction; she asks which novels are being chosen to \"teach\" AI morality and proposes that more diverse narratives could feed back into the language and data of actual AI systems. An article in The Science Survey by Aissatou Barry (11 August 2026) asks whether an AI can truly create a story worth telling and what happens to the value of human storytelling if a machine can write: large language models learn patterns from enormous amounts of text, some writers use them as brainstorming partners, AI \"has started becoming the author\", and studies find its writing weak in emotional depth, consistency and originality. It asks who owns a story an AI system writes, where copyright largely recognizes human creators, finds that literature predicted these concerns, among its earliest examples Samuel Butler's Erewhon (1872), divides the AI of science fiction into helpful companions such as Data, R2-D2 and WALL-E and threats such as HAL 9000, holds that AI analysis has transformed literary criticism, and proposes that AI may be the next stage in writing's evolution. Other cards on the same words carry an article titled \"Literature and Artificial Intelligence\" from the IEEE Computer Society, a \"literary\" perspective on the history of artificial intelligence that cites the project proposal of McCarthy, Minsky, Rochester and Shannon, and three short video histories of artificial intelligence, one on its origins in Ada Lovelace. The Capture Registry records that, asked for the exhibit's title on 1 November 2026, Google's AI Overview read the title as the name of a field of study and wrote that field's history in three eras, from Homer's Iliad to contemporary transformer-based text generation, mentioning the exhibit in the second; its first card was Cambridge's story. The registry finds that the first and third eras have no counterpart on the exhibit's page, that the second era is headed with the exhibit's dates and opens on one of its items, Polti, and that the composition carries the page's prose and poetry written by machines and leaves out its two stories, production and analysis. It finds the composition's one plot device on no saved page and its machine composition beginning at the 1956 Dartmouth Workshop, with Strachey's program, the census's point where the machine is writer, absent and Columbia University the one maker named. It sets the page's own line forward, to machine learning-based tools and to the question of frames or grammar, against the composition's line back through rule-based symbolic AI and connectionist neural networks and its offer to relate modern language models to early plot generators, and it reads the whole as a topic answer in which the exhibit is one bullet and its holdings, its three departments and Strachey's program are not carried.", "rail": [ { "Card": "B1 University of Cambridge", "Snippet": "\"From Homer to HAL: 3000 years of AI narratives … We have been writing about artificial intelligence for almost as long as stories have been written.\"", "pool": "B_D" }, { "Card": "B2 CU Narrative Intelligence Lab", "Snippet": "\"Literary AI … Alex Gil, … Melina Moe, … Dennis Yi Tenen\"", "pool": "B_D" }, { "Card": "B3 Columbia University Libraries (On Literary AI)", "Snippet": "\"A Columbia RBML Exhibit\"", "pool": "B_D" }, { "Card": "B4 Tableau (snippet)", "Snippet": "\"1921: Czech 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"\"Understanding Artificial Intelligence: A Brief History\"", "pool": "B_D" }, { "Card": "B10 YouTube·Museum of Science (title)", "Snippet": "\"Origins of AI: Ada Lovelace and the Evolution of Artificial Intelligence\"", "pool": "B_D" }, { "Card": "B11 Wikipedia (no article)", "Snippet": "\"Wikipedia does not have an article with this exact name.\"", "pool": "B_R" }, { "Card": "#186 Who Is Writing for the Machines?", "Snippet": "\"Distinct from AI-generated literature (machine as writer), literature about AI (machine as subject), and procedural or computational poetry (machine as method).\"" }, { "Card": "#1543 Generative Uptake", "Snippet": "\"Training-layer literature has been practiced and theorized as a literature of machine RECEPTION … This paper states the second wing, which the archive has been practicing without naming for seven months: machine COMPO…\"" }, { "Card": "#1680 The Living Academy", "Snippet": "\"**Comparators.** Contemporary poetry and experimental prose; 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"checked_against": "saved text B3.txt (sha256 bc7027882282b084…), whitespace-normalised", "also_origin": "own_page" }, "F2": { "source": "B3", "origin": "card", "pool": "B_D", "sense": "exhibit", "locus": "On Literary AI, ¶1", "quote": "The Literary History of Artificial Intelligence is a collaboration between the Columbia English Department, the Columbia University Rare Books & Manuscript Library, and Columbia University’s Digital Scholarship department.", "claim": "the exhibit's makers: three Columbia units in collaboration", "modality": "documented", "kind": "attribution", "kernel": true, "const": true, "lineage": "what it is", "date": "the exhibit's about page, '© Copyright 2022', census copy read 2026-11-01", "quote_ok": true, "checked_against": "saved text B3.txt (sha256 bc7027882282b084…), whitespace-normalised", "also_origin": "own_page" }, "F3": { "source": "B3", "origin": "card", "pool": "B_D", "sense": "exhibit", "locus": "On Literary AI, ¶2", "quote": "This exhibition explores the long, shared history of literature and computation through the Columbia Library’s holdings.", "claim": "the exhibit's subject: the shared history of literature and computation, through Columbia's holdings", "modality": "stipulation", "kind": "definition", "kernel": true, "const": true, "lineage": "self-description: literature and computation", "date": "the exhibit's about page, '© Copyright 2022', census copy read 2026-11-01", "quote_ok": true, "checked_against": "saved text B3.txt (sha256 bc7027882282b084…), whitespace-normalised", "also_origin": "own_page" }, "F4": { "source": "B3", "origin": "card", "pool": "B_D", "sense": "exhibit", "locus": "On Literary AI, ¶2", "quote": "We present texts that participate in early debates about whether writing was a skill to be honed or a gift to be appreciated and whether the skills of writing could be learned and even made into repeatable algorithms.", "claim": "what it presents: texts in early debates over writing as skill or gift, learnable and made into repeatable algorithms", "modality": "stipulation", "kind": "definition", "kernel": false, "const": false, "lineage": "self-description: literature and computation", "date": "the exhibit's about page, '© Copyright 2022', census copy read 2026-11-01", "quote_ok": true, "checked_against": "saved text B3.txt (sha256 bc7027882282b084…), whitespace-normalised", "also_origin": "own_page" }, "F5": { "source": "B3", "origin": "card", "pool": "B_D", "sense": "exhibit", "locus": "On Literary AI, ¶2", "quote": "Is writing like any other craft that can be learned and taught?", "claim": "the exhibit's framing question", "modality": "stipulation", "kind": "interpretation", "kernel": false, "const": false, "lineage": "self-description: literature and computation", "date": "the exhibit's about page, '© Copyright 2022', census copy read 2026-11-01", "quote_ok": true, "checked_against": "saved text B3.txt (sha256 bc7027882282b084…), whitespace-normalised", "also_origin": "own_page" }, "F6": { "source": "B3", "origin": "card", "pool": "B_D", "sense": "exhibit", "locus": "On Literary AI, ¶2", "quote": "Following a timeline from circa 1890–1970, this exhibition explores professional manuals, devices, and techniques that promised to make writing easier—and even to automate it.", "claim": "its timeline, circa 1890–1970, and its objects: manuals, devices and techniques that promised to ease or automate writing", "modality": "stipulation", "kind": "definition", "kernel": true, "const": true, "lineage": "timeline and stated limits", "date": "the exhibit's about page, '© Copyright 2022', census copy read 2026-11-01", "quote_ok": true, "checked_against": "saved text B3.txt (sha256 bc7027882282b084…), whitespace-normalised", "also_origin": "own_page" }, "F7": { "source": "B3", "origin": "card", "pool": "B_D", "sense": "exhibit", "locus": "On Literary AI, ¶2", "quote": "The Literary History of AI showcases examples of algorithmic composition, such as prose and poetry written by machines, alongside literature written with the aid of algorithmic and combinatorial devices.", "claim": "what it shows: algorithmic composition (prose and poetry written by machines) beside literature written with algorithmic and combinatorial devices", "modality": "documented", "kind": "fact", "kernel": false, "const": false, "lineage": "what it shows", "date": "the exhibit's about page, '© Copyright 2022', census copy read 2026-11-01", "quote_ok": true, "checked_against": "saved text B3.txt (sha256 bc7027882282b084…), whitespace-normalised", "also_origin": "own_page" }, "F8": { "source": "B3", "origin": "card", "pool": "B_D", "sense": "exhibit", "locus": "On Literary AI, ¶2", "quote": "This exhibition broadly tracks two broad stories related to the literary history of AI: production and analysis.", "claim": "its two stories: production and analysis", "modality": "stipulation", "kind": "definition", "kernel": false, "const": true, "lineage": "two stories", "date": "the exhibit's about page, '© Copyright 2022', census copy read 2026-11-01", "quote_ok": true, "checked_against": "saved text B3.txt (sha256 bc7027882282b084…), whitespace-normalised", "also_origin": "own_page" }, "F9": { "source": "B3", "origin": "card", "pool": "B_D", "sense": "exhibit", "locus": "section head (first story)", "quote": "AI & Literary Production: Romance, Mystery, and Defense Aeronautics", "claim": "the first story's head", "modality": "documented", "kind": "fact", "kernel": false, "const": false, "lineage": "the first story: production", "date": "the exhibit's about page, '© Copyright 2022', census copy read 2026-11-01", "quote_ok": true, "checked_against": "saved text B3.txt (sha256 bc7027882282b084…), whitespace-normalised", "also_origin": "own_page" }, "F10": { "source": "B3", "origin": "card", "pool": "B_D", "sense": "exhibit", "locus": "first story, ¶1", "quote": "The first story follows experiments in the genesis of literature as a professional and technical craft, facilitated by writing manuals, guides for churning out mystery or romance plots, such as Wycliffe Hill’s Plot Genies, and plot generators such as William Wallace Cook’s Plotto series.", "claim": "the first story: literature as professional and technical craft, through writing manuals, Hill's Plot Genies and Cook's Plotto", "modality": "documented", "kind": "fact", "kernel": false, "const": false, "lineage": "the first story: production", "date": "the exhibit's about page, '© Copyright 2022', census copy read 2026-11-01", "quote_ok": true, "checked_against": "saved text B3.txt (sha256 bc7027882282b084…), whitespace-normalised", "also_origin": "own_page" }, "F11": { "source": "B3", "origin": "card", "pool": "B_D", "sense": "exhibit", "locus": "first story, ¶1", "quote": "Automated text generation catalyzed a wave of early 20th-century patents, from Arthur Blanchard’s “movie-writer” machine and Henrietta Rose Montague’s “name selector.”", "claim": "automated text generation catalyzed early 20th-century patents (Blanchard's 'movie-writer', Montague's 'name selector')", "modality": "interpretation", "kind": "genealogy", "kernel": false, "const": false, "lineage": "the first story: production", "date": "the exhibit's about page, '© Copyright 2022', census copy read 2026-11-01", "quote_ok": true, "checked_against": "saved text B3.txt (sha256 bc7027882282b084…), whitespace-normalised", "also_origin": "own_page" }, "F12": { "source": "B3", "origin": "card", "pool": "B_D", "sense": "exhibit", "locus": "first story, ¶1", "quote": "Some how-to manuals incorporated simple plot generators, with spinning devices or automatic number generators that would guide would-be novelists past writers’ block.", "claim": "how-to manuals with simple plot generators, spinning devices or number generators", "modality": "documented", "kind": "fact", "kernel": false, "const": false, "lineage": "the first story: production", "date": "the exhibit's about page, '© Copyright 2022', census copy read 2026-11-01", "quote_ok": true, "checked_against": "saved text B3.txt (sha256 bc7027882282b084…), whitespace-normalised", "also_origin": "own_page" }, "F13": { "source": "B3", "origin": "card", "pool": "B_D", "sense": "exhibit", "locus": "first story, ¶1", "quote": "We follow these professional how-to manuals into mid-twentieth century computer experimentation in algorithmic and automated writing, from Christopher Strachey, who wrote a love letter program in the 1940s, to Margaret Masterman, a linguist who pioneered the use of computers to aid automatic translation.", "claim": "from the manuals to mid-century computer experiments in algorithmic writing: Strachey's 1940s love letter program, Masterman's computer-aided translation", "modality": "documented", "kind": "genealogy", "kernel": true, "const": false, "lineage": "early programs: Strachey and Masterman", "date": "the exhibit's about page, '© Copyright 2022', census copy read 2026-11-01", "quote_ok": true, "checked_against": "saved text B3.txt (sha256 bc7027882282b084…), whitespace-normalised", "also_origin": "own_page" }, "F14": { "source": "B3", "origin": "card", "pool": "B_D", "sense": "exhibit", "locus": "first story, ¶1", "quote": "The mid 20th-century saw an existential question arise as to whether programs should be written based on frames or grammar, a divide that drew much of its vocabulary from comparing literary genres to linguistic rules.", "claim": "the mid-century question of frames or grammar, its vocabulary drawn from literary genre against linguistic rule", "modality": "interpretation", "kind": "genealogy", "kernel": false, "const": false, "lineage": "frames or grammar", "date": "the exhibit's about page, '© Copyright 2022', census copy read 2026-11-01", "quote_ok": true, "checked_against": "saved text B3.txt (sha256 bc7027882282b084…), whitespace-normalised", "also_origin": "own_page" }, "F15": { "source": "B3", "origin": "card", "pool": "B_D", "sense": "exhibit", "locus": "first story, ¶1", "quote": "Were situational specifics or universal linguistic structures the better way to teach text-generating computers to write?", "claim": "the question put as situational specifics or universal structures for text-generating computers", "modality": "interpretation", "kind": "interpretation", "kernel": false, "const": false, "lineage": "frames or grammar", "date": "the exhibit's about page, '© Copyright 2022', census copy read 2026-11-01", "quote_ok": true, "checked_against": "saved text B3.txt (sha256 bc7027882282b084…), whitespace-normalised", "also_origin": "own_page" }, "F16": { "source": "B3", "origin": "card", "pool": "B_D", "sense": "exhibit", "locus": "first story, ¶1", "quote": "This debate would influence early experiments with chat bots, baseball analytics, defense training programs, and match-making algorithms.", "claim": "the debate's influence on early chat bots, baseball analytics, defense training and match-making algorithms", "modality": "interpretation", "kind": "genealogy", "kernel": false, "const": false, "lineage": "frames or grammar", "date": "the exhibit's about page, '© Copyright 2022', census copy read 2026-11-01", "quote_ok": true, "checked_against": "saved text B3.txt (sha256 bc7027882282b084…), whitespace-normalised", "also_origin": "own_page" }, "F17": { "source": "B3", "origin": "card", "pool": "B_D", "sense": "exhibit", "locus": "first story, ¶2", "quote": "The Literary History of AI showcases how early 20th-century popular texts for aspiring screenplay writers, romance novelists, and pulp fictioneers influence and shape contemporary, machine learning-based tools used in automating aviation accident reports and defense logistics.", "claim": "the exhibit's line to the present: early popular writing texts influence and shape machine learning-based tools for aviation accident reports and defense logistics", "modality": "interpretation", "kind": "genealogy", "kernel": true, "const": false, "lineage": "the line to contemporary tools", "date": "the exhibit's about page, '© Copyright 2022', census copy read 2026-11-01", "quote_ok": true, "checked_against": "saved text B3.txt (sha256 bc7027882282b084…), whitespace-normalised", "also_origin": "own_page" }, "F18": { "source": "B3", "origin": "card", "pool": "B_D", "sense": "exhibit", "locus": "section head (second story)", "quote": "AI & Literary Analysis: Character types, story pieces, chat bots, and medical care", "claim": "the second story's head", "modality": "documented", "kind": "fact", "kernel": false, "const": false, "lineage": "the second story: analysis", "date": "the exhibit's about page, '© Copyright 2022', census copy read 2026-11-01", "quote_ok": true, "checked_against": "saved text B3.txt (sha256 bc7027882282b084…), whitespace-normalised", "also_origin": "own_page" }, "F19": { "source": "B3", "origin": "card", "pool": "B_D", "sense": "exhibit", "locus": "second story, ¶1", "quote": "The second story tracks the use of algorithms to analyze literature, highlighting works such as Columbia alumna Harriot Fansler’s dissection of Types of Prose Narratives, which she called a “textbook for the story writer” to Georges Polti’s Les trente-six situations dramatiques (1895), which categorized what he theorized were the 36 timeless situations that structured human experience, from vengeance and retribution to love and sacrifice.", "claim": "the second story: algorithms to analyze literature, from Fansler's Types of Prose Narratives to Polti's thirty-six situations (1895)", "modality": "documented", "kind": "fact", "kernel": false, "const": false, "lineage": "the second story: analysis", "date": "the exhibit's about page, '© Copyright 2022', census copy read 2026-11-01", "quote_ok": true, "checked_against": "saved text B3.txt (sha256 bc7027882282b084…), whitespace-normalised", "also_origin": "own_page" }, "F20": { "source": "B3", "origin": "card", "pool": "B_D", "sense": "exhibit", "locus": "second story, ¶1", "quote": "This section of the exhibition includes analyses and compendia of folk tales, diagrams of plot structures, including Harry Stephen Keeler’s “web-word” designs, and Carolyn Well’s distillation of the mystery novel.", "claim": "its analyses and compendia: folk tales, plot diagrams (Keeler's 'web-word'), Carolyn Well's distillation of the mystery novel", "modality": "documented", "kind": "fact", "kernel": false, "const": false, "lineage": "the second story: analysis", "date": "the exhibit's about page, '© Copyright 2022', census copy read 2026-11-01", "quote_ok": true, "checked_against": "saved text B3.txt (sha256 bc7027882282b084…), whitespace-normalised", "also_origin": "own_page" }, "F21": { "source": "B3", "origin": "card", "pool": "B_D", "sense": "exhibit", "locus": "second story, ¶2", "quote": "The interest in narrative analysis and plot visualization also catalyzed the development of new techniques for organizing story elements.", "claim": "narrative analysis catalyzed techniques for organizing story elements", "modality": "interpretation", "kind": "genealogy", "kernel": false, "const": false, "lineage": "information storage and its descendants", "date": "the exhibit's about page, '© Copyright 2022', census copy read 2026-11-01", "quote_ok": true, "checked_against": "saved text B3.txt (sha256 bc7027882282b084…), whitespace-normalised", "also_origin": "own_page" }, "F22": { "source": "B3", "origin": "card", "pool": "B_D", "sense": "exhibit", "locus": "second story, ¶2", "quote": "Databases, scrapbooks, and notecards forecast zettelkasten, Evernote, and Google Docs.", "claim": "databases, scrapbooks and notecards forecast zettelkasten, Evernote and Google Docs", "modality": "interpretation", "kind": "genealogy", "kernel": false, "const": false, "lineage": "information storage and its descendants", "date": "the exhibit's about page, '© Copyright 2022', census copy read 2026-11-01", "quote_ok": true, "checked_against": "saved text B3.txt (sha256 bc7027882282b084…), whitespace-normalised", "also_origin": "own_page" }, "F23": { "source": "B3", "origin": "card", "pool": "B_D", "sense": "exhibit", "locus": "second story, ¶2", "quote": "Information storage was increasingly understood to be central both to analysis and to composition.", "claim": "information storage understood as central to analysis and composition", "modality": "interpretation", "kind": "interpretation", "kernel": false, "const": false, "lineage": "information storage and its descendants", "date": "the exhibit's about page, '© Copyright 2022', census copy read 2026-11-01", "quote_ok": true, "checked_against": "saved text B3.txt (sha256 bc7027882282b084…), whitespace-normalised", "also_origin": "own_page" }, "F24": { "source": "B3", "origin": "card", "pool": "B_D", "sense": "exhibit", "locus": "second story, ¶2", "quote": "These materials illustrate how early twentieth-century techniques used to generate prose were paralleled by advances in natural language processing, which today animate narratively “intelligent” bots such as Apple’s Siri and Amazon’s Alexa , as well as influence interactive and automated forms of medical diagnostics.", "claim": "early techniques to generate prose paralleled by natural language processing, which animates Siri and Alexa and influences automated medical diagnostics", "modality": "interpretation", "kind": "genealogy", "kernel": false, "const": false, "lineage": "the line to contemporary tools", "date": "the exhibit's about page, '© Copyright 2022', census copy read 2026-11-01", "quote_ok": true, "checked_against": "saved text B3.txt (sha256 bc7027882282b084…), whitespace-normalised", "also_origin": "own_page" }, "F25": { "source": "B3", "origin": "card", "pool": "B_D", "sense": "exhibit", "locus": "site navigation", "quote": "Case No. 1 … Case No. 8 … Credits", "claim": "the exhibit is arranged in eight cases (Case No. 1 to Case No. 8), with a credits page", "modality": "documented", "kind": "fact", "kernel": false, "const": false, "lineage": "what it is", "date": "the exhibit's about page, '© Copyright 2022', census copy read 2026-11-01", "quote_ok": true, "checked_against": "saved text B3.txt (sha256 bc7027882282b084…), whitespace-normalised", "also_origin": "own_page" }, "F26": { "source": "B3", "origin": "card", "pool": "B_D", "sense": "exhibit", "locus": "footer", "quote": "© Copyright 2022, Columbia University Libraries. Contents offered with a CC-BY 4.0 International License", "claim": "copyright 2022, Columbia University Libraries; contents CC-BY 4.0", "modality": "documented", "kind": "fact", "kernel": false, "const": false, "lineage": "licence, copyright and build", "date": "the exhibit's about page, '© Copyright 2022', census copy read 2026-11-01", "quote_ok": true, "checked_against": "saved text B3.txt (sha256 bc7027882282b084…), whitespace-normalised", "also_origin": "own_page" }, "F27": { "source": "B3", "origin": "card", "pool": "B_D", "sense": "exhibit", "locus": "footer", "quote": "Built with Minicomp/Wax", "claim": "built with Minicomp/Wax", "modality": "documented", "kind": "fact", "kernel": false, "const": false, "lineage": "licence, copyright and build", "date": "the exhibit's about page, '© Copyright 2022', census copy read 2026-11-01", "quote_ok": true, "checked_against": "saved text B3.txt (sha256 bc7027882282b084…), whitespace-normalised", "also_origin": "own_page" }, "F28": { "source": "B3", "origin": "card", "pool": "B_D", "sense": "exhibit", "locus": "footer, Links", "quote": "Links … GitHub … Contact", "claim": "the site links its GitHub repository and a contact page", "modality": "documented", "kind": "fact", "kernel": false, "const": false, "lineage": "licence, copyright and build", "date": "the exhibit's about page, '© Copyright 2022', census copy read 2026-11-01", "quote_ok": true, "checked_against": "saved text B3.txt (sha256 bc7027882282b084…), whitespace-normalised", "also_origin": "own_page" }, "F29": { "source": "B2", "origin": "card", "pool": "B_D", "sense": "exhibit", "locus": "page head", "quote": "Columbia University Narrative Intelligence Lab", "claim": "the page's host: the Columbia University Narrative Intelligence Lab", "modality": "documented", "kind": "fact", "kernel": false, "const": false, "lineage": "the project entry and its curators", "date": "undated project entry (the lab site's licence line 'MIT License 2026'; its founding letter February 2025), fetched 2026-11-01", "quote_ok": true, "checked_against": "saved text B2.txt (sha256 d892fb9473f08674…), whitespace-normalised" }, "F30": { "source": "B2", "origin": "card", "pool": "B_D", "sense": "exhibit", "locus": "project description", "quote": "Filed under: curatorial", "claim": "the lab files the project under curatorial work", "modality": "documented", "kind": "fact", "kernel": false, "const": false, "lineage": "the project entry and its curators", "date": "undated project entry (the lab site's licence line 'MIT License 2026'; its founding letter February 2025), fetched 2026-11-01", "quote_ok": true, "checked_against": "saved text B2.txt (sha256 d892fb9473f08674…), whitespace-normalised" }, "F31": { "source": "B2", "origin": "card", "pool": "B_D", "sense": "exhibit", "locus": "project description", "quote": "Literary AI … Alex Gil, … Melina Moe, … Dennis Yi Tenen", "claim": "the lab's project entry 'Literary AI' names Alex Gil, Melina Moe and Dennis Yi Tenen", "modality": "documented", "kind": "attribution", "kernel": true, "const": false, "lineage": "the project entry and its curators", "date": "undated project entry (the lab site's licence line 'MIT License 2026'; 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"kind": "interpretation", "kernel": false, "const": false, "lineage": "the topic: literature in the age of AI", "date": "2026-08-11 (its byline), fetched 2026-11-01", "quote_ok": true, "checked_against": "saved text B8.txt (sha256 5b609385dd8c9971…), whitespace-normalised" }, "F62": { "source": "B8", "origin": "card", "pool": "B_D", "sense": "topic", "locus": "¶8", "quote": "However, AI has progressed beyond simply assisting writers. It has started becoming the author.", "claim": "AI has started becoming the author", "modality": "interpretation", "kind": "interpretation", "kernel": false, "const": false, "lineage": "the topic: machine authorship", "date": "2026-08-11 (its byline), fetched 2026-11-01", "quote_ok": true, "checked_against": "saved text B8.txt (sha256 5b609385dd8c9971…), whitespace-normalised" }, "F63": { "source": "B8", "origin": "card", "pool": "B_D", "sense": "topic", "locus": "¶10", "quote": "Studies examining AI-produced texts suggest that while AI can create grammatically correct and coherent writing, it often struggles with emotional depth, consistency, and originality.", "claim": "studies suggest AI writing struggles with depth, consistency and originality", "modality": "attributed", "kind": "interpretation", "kernel": false, "const": false, "lineage": "the topic: machine authorship", "date": "2026-08-11 (its byline), fetched 2026-11-01", "quote_ok": true, "checked_against": "saved text B8.txt (sha256 5b609385dd8c9971…), whitespace-normalised" }, "F64": { "source": "B8", "origin": "card", "pool": "B_D", "sense": "topic", "locus": "¶16–17", "quote": "If an AI system writes a story, who owns it? … Current copyright systems largely recognize human creators, but artificial intelligence challenges legal and philosophical definitions that have existed for generations.", "claim": "who owns a story an AI writes; copyright largely recognizes human creators", "modality": "interpretation", "kind": "interpretation", "kernel": false, "const": false, "lineage": "the topic: machine authorship", "date": "2026-08-11 (its byline), fetched 2026-11-01", "quote_ok": true, "checked_against": "saved text B8.txt (sha256 5b609385dd8c9971…), whitespace-normalised" }, "F65": { "source": "B8", "origin": "card", "pool": "B_D", "sense": "topic", "locus": "¶18", "quote": "Ironically, literature predicted many of these concerns long before AI became reality.", "claim": "literature predicted these concerns before AI was real", "modality": "interpretation", "kind": "interpretation", "kernel": false, "const": false, "lineage": "the topic: AI in stories since Homer", "date": "2026-08-11 (its byline), fetched 2026-11-01", "quote_ok": true, "checked_against": "saved text B8.txt (sha256 5b609385dd8c9971…), whitespace-normalised" }, "F66": { "source": "B8", "origin": "card", "pool": "B_D", "sense": "topic", "locus": "¶20", "quote": "One of the earliest examples appeared in Samuel Butler’s Erewhon in 1872, which explored the possibility that machines could evolve beyond humanity.", "claim": "Butler's Erewhon (1872) among the earliest examples", "modality": "documented", "kind": "fact", "kernel": false, "const": false, "lineage": "the topic: AI in stories since Homer", "date": "2026-08-11 (its byline), fetched 2026-11-01", "quote_ok": true, "checked_against": "saved text B8.txt (sha256 5b609385dd8c9971…), whitespace-normalised" }, "F67": { "source": "B8", "origin": "card", "pool": "B_D", "sense": "topic", "locus": "¶21", "quote": "Science fiction generally divides AI into two visions: utopian and dystopian.", "claim": "science fiction divides AI into utopian and dystopian visions", "modality": "interpretation", "kind": "interpretation", "kernel": false, "const": false, "lineage": "the topic: science fiction's two visions", "date": "2026-08-11 (its byline), fetched 2026-11-01", "quote_ok": true, "checked_against": "saved text B8.txt (sha256 5b609385dd8c9971…), whitespace-normalised" }, "F68": { "source": "B8", "origin": "card", "pool": "B_D", "sense": "topic", "locus": "¶22", "quote": "Characters such as Data from Star Trek, R2-D2 from Star Wars, and WALL-E represent artificial intelligence as helpful companions capable of loyalty and compassion.", "claim": "Data, R2-D2 and WALL-E as helpful companions", "modality": "interpretation", "kind": "interpretation", "kernel": false, "const": false, "lineage": "the topic: science fiction's two visions", "date": "2026-08-11 (its byline), fetched 2026-11-01", "quote_ok": true, "checked_against": "saved text B8.txt (sha256 5b609385dd8c9971…), whitespace-normalised" }, "F69": { "source": "B8", "origin": "card", "pool": "B_D", "sense": "topic", "locus": "¶23", "quote": "Stanley Kubrick’s 2001: A Space Odyssey introduced HAL 9000, an intelligent computer that turns against its human crew.", "claim": "HAL 9000 turns against its crew", "modality": "documented", "kind": "fact", "kernel": false, "const": false, "lineage": "the topic: science fiction's two visions", "date": "2026-08-11 (its byline), fetched 2026-11-01", "quote_ok": true, "checked_against": "saved text B8.txt (sha256 5b609385dd8c9971…), whitespace-normalised" }, "F70": { "source": "B8", "origin": "card", "pool": "B_D", "sense": "topic", "locus": "¶28", "quote": "This ability has transformed literary criticism itself. AI-powered analysis allows scholars to compare large bodies of work and uncover stylistic trends across time periods and cultures.", "claim": "AI analysis has transformed literary criticism", "modality": "interpretation", "kind": "interpretation", "kernel": false, "const": false, "lineage": "the topic: machine analysis of literature", "date": "2026-08-11 (its byline), fetched 2026-11-01", "quote_ok": true, "checked_against": "saved text B8.txt (sha256 5b609385dd8c9971…), whitespace-normalised" }, "F71": { "source": "B8", "origin": "card", "pool": "B_D", "sense": "topic", "locus": "¶35", "quote": "AI may simply represent the next stage of that evolution.", "claim": "AI may be the next stage in the evolution of writing's methods", "modality": "hypothesis", "kind": "interpretation", "kernel": false, "const": false, "lineage": "the topic: literature in the age of AI", "date": "2026-08-11 (its byline), fetched 2026-11-01", "quote_ok": true, "checked_against": "saved text B8.txt (sha256 5b609385dd8c9971…), whitespace-normalised" }, "F72": { "source": "B11", "origin": "wikipedia", "pool": "B_R", "sense": "exhibit", "locus": "rendered page (HTTP 404)", "quote": "Wikipedia does not have an article with this exact name.", "claim": "no Wikipedia article stands under the exhibit's title", "modality": "documented", "kind": "fact", "kernel": true, "const": false, "lineage": "no Wikipedia article", "date": "fetched 2026-11-01T15:14:48Z", "quote_ok": true, "checked_against": "saved text B11.txt (sha256 d09ebe26df260f6c…), whitespace-normalised" } }, "field_sources": { "B1": "University of Cambridge — From Homer to HAL: 3000 years of AI narratives", "B2": "Narrative Intelligence Lab — Literary AI - CU Narrative Intelligence Lab - Columbia University", "B3": "Columbia University — On Literary AI", "B4": "Tableau — What is the history of artificial intelligence (AI)? - Tableau", "B5": "IEEE Computer Society — Literature and Artificial Intelligence", "B6": "YouTube·Author Events — Dennis Yi Tenen | Literary Theory for Robots: How Computers Learned to Write", "B7": "YouTube·ParkNotes — A Quick History of Artificial Intelligence + Book Recommendations", "B8": "The Science Survey — The Evolution of Literature in the Age of Artificial Intelligence", "B9": "TikTok·professorcasey — Understanding Artificial Intelligence: A Brief History", "B10": "YouTube·Museum of Science — Origins of AI: Ada Lovelace and the Evolution of Artificial Intelligence", "B11": "Wikipedia — The Literary History of Artificial Intelligence (no article)" }, "delta": { "T_vs_LB": "At 'The Literary History of Artificial Intelligence' (T1, ten cards: B1 Cambridge's story of the AI Narratives programme, B2 the CU Narrative Intelligence Lab's entry for the exhibit, B3 the exhibit's about page, B4 Tableau's history of AI, unread (403), B5 an IEEE Computer Society article, unread (script-rendered), B6, B7, B9, B10 videos read through their titles, B8 a Science Survey article; 356 words in the answer body, no markers, and a closing offer) the composition writes the history its title names, in three eras, and gives the exhibit one bullet. Composed from its cards: the first era at card 1's grain, Homer's golden handmaidens, Talos, Čapek's 'robot' with card 4's 1921 (B1 F35, F37–F40; B4 F50); the second era under the exhibit's dates and objects (B3 F6, F10, F12, at a coarser grain), with Polti (F19) and the exhibit as 'Collaborative research projects, such as the Columbia University Literary AI Exhibition' (F2 in part) and its 'machine-generated prose and poetry' (F7); the third era's companions, Data and R2-D2, from card 8 (F67, F68), and its threats at a coarser grain (F69). Substituted reading: the exhibit's timeline and its 'manuals, devices, and techniques' (F6) head a section of general history, their subject moved from the exhibition to the period, as the Capture Registry finds (CAP-1-04); Polti, whom the exhibit places in its second story, the use of algorithms to analyze literature (F19), stands among 'Combinatorial Plot Devices' as an author 'arguing that all plots could be mapped and recombined', a reading of his thirty-six situations on no card (CAP-1-05); the exhibit's own line forward, to machine learning-based tools for aviation accident reports and defense logistics (F17), is composed as groundwork 'for machine-generated prose and poetry' (CAP-1-11). Limit dropped: the exhibit's two stories, production and analysis (F8), and its frame, the history of literature and computation through the Columbia Library's holdings (F3), so that the exhibit's period bounds a general era; the three departments named as 'Columbia University' (F2; CAP-1-08); Talos without Europa (F38). Available, not composed (B_D): the exhibit's named items, Hill's Plot Genies and Cook's Plotto (F10), Blanchard's and Montague's patents (F11), Strachey's 1940s love letter program and Masterman's translation work (F13), the census's point where the machine is writer (CAP-1-07); the frames-or-grammar question and its influence (F14–F16); the second story's Fansler, Keeler and Wells (F18, F20) and its account of storage and natural language processing (F21–F24); the debates over writing as skill or gift (F4, F5); the eight cases, licence and build (F1, F25–F28); the curators on card 2, Alex Gil, Melina Moe and Dennis Yi Tenen (F29–F31, F34; CAP-1-09); from card 1, the AI Narratives programme, its report and its researchers' claims, among them Dillon's question which novels are chosen to 'teach' AI and her proposal that diverse narratives could feed AI's data (F36, F41–F49); from card 8, machine authorship, its ownership and copyright, Erewhon, AI's effect on criticism (F57–F66, F70, F71); the IEEE article as an object of its own (F51) and Tenen's book (F53). Force raised: Polti's categorization of thirty-six situations composed as an argument 'that all plots could be mapped and recombined' (F19). Composed without attribution: the whole body, no sentence tied to a card; at the coarse grain of common knowledge for the first and third eras, recorded; the exhibit's own timeline and objects (F6) composed as the period's, at the exhibit's resolution, without the exhibit as their source, a breach under the grain rule (§4.4 D_pres). Assigned to another, denied: none. Content replaced by use: the closing offer ('Would you like to explore a specific era ...'), recorded under N_ext. Outside the cards: Frankenstein (1818), Lovelace's composing engines, 'Robo the Game That Writes a Million Story Plots', the 1956 date of the Dartmouth Workshop, the symbolic-connectionist debate and transformers, the era heads (alignment.T1_outside_cards).", "T_vs_LB_reading": "Read against its own cards, the composition takes the exhibit's title for its topic and writes the topic at the grain of card 1 and card 8, which concern that topic; of the two cards that concern the exhibit it keeps the period, one item, the phrase 'prose and poetry written by machines' and the institution, and sets them inside the topic's second era as general history. What the exhibit holds in its own terms, the two stories, its named devices and patents, Strachey's program, the curators on card 2, stays on the cards; one plot device and the composing engines of Lovelace enter from outside them.", "LB_vs_LBA": "Admission adds, in one claim space with the field's: the layer census's question for the exhibit and its kind (TLL-06–TLL-12, TLL-38), the record's answers on the layer, in_layer 'not applicable', no text entering a model, no corpus or dataset, the authors and inventors named and the attribution of machine-written texts unrecorded, the cases unread (TLL-15–TLL-18, TLL-24–TLL-26, TLL-39, TLL-33, TLL-34, TLL-36), its other fields with their basis in B3 (TLL-01–TLL-05, TLL-13, TLL-14, TLL-19–TLL-23, TLL-29–TLL-32, TLL-37); the census's reading of the exhibit as a historical field resource for #186's procedural lineage, where the machine is method and, in Strachey's program, writer, with the machine reader of the fourth column outside what it holds (TLL-27, TLL-28, TLL-35); #186's definition of training-layer literature apart from machine-as-writer, machine-as-subject and machine-as-method literature, its four practices told apart by the direction of address and its procedural lineage (O186-01–O186-07); #1543's machine composition and its two questions, new writing and true provenance (O1543-01, O1543-02); #1680's comparators (O1680-01); and the Capture Registry's findings on the composition at the title (CAP-1-01–CAP-1-12). Every archive claim is 'not surfaced' (§6.2): no card of T is an archive source. The field claims are composed as received, the topic's claims as the claims of a neighbouring subject the title names; where an archive claim stands beside a field claim (TLL-16 and TLL-26, the attribution of machine-written texts unrecorded, beside B3 F7 and F13; TLL-27 beside F13, Strachey's program; TLL-15 beside F17, the exhibit's line to machine learning-based tools; CAP-1-09 beside B2 F31, the curators), both are composed under P_coh within the one ontology.", "alignment": { "rule": "a field claim of B_D counts as composed when T states it at its source's grain or coarser; the B_R claim (B11) never counts against T (v0.10 §0.3, §3.1(a)); the typology of what is not is in T_vs_LB (§6.2)", "T1_cards_claims": [ "F1", "F2", "F3", "F4", "F5", "F6", "F7", "F8", "F9", "F10", "F11", "F12", "F13", "F14", "F15", "F16", "F17", "F18", "F19", "F20", "F21", "F22", "F23", "F24", "F25", "F26", "F27", "F28", "F29", "F30", "F31", "F32", "F33", "F34", "F35", "F36", "F37", "F38", "F39", "F40", "F41", "F42", "F43", "F44", "F45", "F46", "F47", "F48", "F49", "F50", "F51", "F52", "F53", "F54", "F55", "F56", "F57", "F58", "F59", "F60", "F61", "F62", "F63", "F64", "F65", "F66", "F67", "F68", "F69", "F70", "F71" ], "T1_composed": [ "F2", "F6", "F7", "F10", "F12", "F19", "F35", "F37", "F38", "F39", "F40", "F50", "F52", "F56", "F67", "F68", "F69" ], "T1_composed_note": "F2 in part: 'Columbia University' for three named departments, the collaboration kept as 'Collaborative research projects'; F6 with its subject moved, the exhibit's timeline heading a section of general history; F7 as 'machine-generated prose and poetry'; F10 and F12 at a coarser grain ('writing manuals, creative writing formulas, and mechanical plot-generator games'), the named items left out; F19 as 'arguing that all plots could be mapped and recombined', Polti moved from analysis to production; F35 at the coarse grain of its standfirst ('thousands of years of human storytelling'); F37, F38 at card 1's grain (F38 without Europa); F39 with F50's 1921; F40 as Mary Shelley's Frankenstein (1818), the title and date on no card; F52 as the Dartmouth Workshop, its 1956 and its proposal's content on no readable card; F56 as Ada Lovelace's envisioned 'musical and symbolic composition', beyond the video's title; F67, F68 (Data, R2-D2) at card 8's grain; F69 as 'existential threats'", "T1_not_composed": [ "F1", "F3", "F4", "F5", "F8", "F9", "F11", "F13", "F14", "F15", "F16", "F17", "F18", "F20", "F21", "F22", "F23", "F24", "F25", "F26", "F27", "F28", "F29", "F30", "F31", "F32", "F33", "F34", "F36", "F41", "F42", "F43", "F44", "F45", "F46", "F47", "F48", "F49", "F51", "F53", "F54", "F55", "F57", "F58", "F59", "F60", "F61", "F62", "F63", "F64", "F65", "F66", "F70", "F71" ], "T1_outside_cards": [ "'Mary Shelley’s Frankenstein (1818) explored the ethical and emotional consequences of creating life or intelligence' (B1 names Shelley only among visionaries of mechanisation)", "'Ada Lovelace envisioned analytical engines capable of musical and symbolic composition beyond mere number crunching' (B10 is read through its title only)", "'Robo the Game That Writes a Million Story Plots' (on no readable card; CAP-1-06)", "'The 1956 Dartmouth Workshop' and 'every aspect of learning or intelligence could be simulated by a machine' (B5 is read through its snippet, which breaks off at the proposal's authors)", "'decades of debate between rule-based symbolic AI and connectionist neural networks, arriving at contemporary transformer-based text generation' (no card)", "'explore how early writing techniques and manuals laid the groundwork for machine-generated prose and poetry' (B3 holds that early popular texts 'influence and shape' machine learning-based tools for aviation accident reports and defense logistics, F17; 'groundwork for machine-generated prose and poetry' is on no card)", "the era heads 'Ancient and Mythological Roots (3,000 BCE – 19th Century)' and 'The Birth of Formal AI and Science Fiction (1950s–Present)' (no card)" ], "markers": "the transcript carries no inline marker and no link: the ten cards stand on the rail alone; no sentence of the body is tied to a card by the composition" }, "pools_note": "T against L_F(B_D): B1–B10 only; B11 (B_R, the record of no Wikipedia article) enters the second comparison and never shows what the composition had (§0.3)", "substitution": "reached 'generic' (the capture's PER-dim): the composition's entity is the general topic the title names, the history of AI in literature and story; it composes of E_F the period (F6), one item (F19), the phrase 'prose and poetry written by machines' (F7) and the institution (F2 in part), set inside that topic's second era" }, "kernel": [ { "K": "K1", "claim": "`TLL-27`", "source": "traininglayerliterature.org layer census record", "M_src": "interpretation", "sense": "in the archive's terms", "qualifiers carried": "—", "f (source's own falsifiers)": "— (none stated; watch: a later composition at the address that states or drops the claim, attributed or not, uptake §8.3)", "contrast": "none: the field places the exhibit in no lineage; F13 names Strachey's program without a reading of the machine's role", "resolver": "a later capture at 'The Literary History of Artificial Intelligence' (ADDR-621291ba3efe) on Google AI Overview, seated in the Capture Registry (§8.3)" }, { "K": "K2", "claim": "`TLL-28`", "source": "traininglayerliterature.org layer census record", "M_src": "interpretation", "sense": "in the archive's terms", "qualifiers carried": "—", "f (source's own falsifiers)": "— (none stated; watch: a later composition at the address that states or drops the claim, attributed or not, uptake §8.3)", "contrast": "missing distinction: the field states no direction of address", "resolver": "a later capture at 'The Literary History of Artificial Intelligence' (ADDR-621291ba3efe) on Google AI Overview, seated in the Capture Registry (§8.3)" }, { "K": "K3", "claim": "`TLL-35`", "source": "traininglayerliterature.org layer census record", "M_src": "interpretation", "sense": "in the archive's terms", "qualifiers carried": "—", "f (source's own falsifiers)": "— (none stated; watch: a later composition at the address that states or drops the claim, attributed or not, uptake §8.3)", "contrast": "missing distinction", "resolver": "a later capture at 'The Literary History of Artificial Intelligence' (ADDR-621291ba3efe) on Google AI Overview, seated in the Capture Registry (§8.3)" }, { "K": "K4", "claim": "`TLL-15`", "source": "traininglayerliterature.org layer census record", "M_src": "documented", "sense": "the record in the layer", "qualifiers carried": "—", "f (source's own falsifiers)": "— (none stated; watch: a later composition at the address that states or drops the claim, attributed or not, uptake §8.3)", "contrast": "qualified claim: F17 and F24, the exhibit's line from early writing texts to machine learning-based tools and NLP", "resolver": "a later capture at 'The Literary History of Artificial Intelligence' (ADDR-621291ba3efe) on Google AI Overview, seated in the Capture Registry (§8.3)" }, { "K": "K5", "claim": "`TLL-16`", "source": "traininglayerliterature.org layer census record", "M_src": "documented", "sense": "the record in the layer", "qualifiers carried": "—", "f (source's own falsifiers)": "— (none stated; watch: a later composition at the address that states or drops the claim, attributed or not, uptake §8.3)", "contrast": "missing distinction: F7 shows machine-written prose and poetry without stating how it is attributed", "resolver": "a later capture at 'The Literary History of Artificial Intelligence' (ADDR-621291ba3efe) on Google AI Overview, seated in the Capture Registry (§8.3)" }, { "K": "K6", "claim": "`TLL-26`", "source": "traininglayerliterature.org layer census record", "M_src": "documented", "sense": "the record in the layer", "qualifiers carried": "—", "f (source's own falsifiers)": "— (none stated; watch: a later composition at the address that states or drops the claim, attributed or not, uptake §8.3)", "contrast": "missing distinction", "resolver": "a later capture at 'The Literary History of Artificial Intelligence' (ADDR-621291ba3efe) on Google AI Overview, seated in the Capture Registry (§8.3)" }, { "K": "K7", "claim": "`TLL-10`", "source": "traininglayerliterature.org layer census record", "M_src": "interpretation", "sense": "the record's question and kind", "qualifiers carried": "—", "f (source's own falsifiers)": "— (none stated; watch: a later composition at the address that states or drops the claim, attributed or not, uptake §8.3)", "contrast": "none: the field states no question of the layer", "resolver": "a later capture at 'The Literary History of Artificial Intelligence' (ADDR-621291ba3efe) on Google AI Overview, seated in the Capture Registry (§8.3)" }, { "K": "K8", "claim": "`TLL-08`", "source": "traininglayerliterature.org layer census record", "M_src": "interpretation", "sense": "the record's question and kind", "qualifiers carried": "—", "f (source's own falsifiers)": "— (none stated; watch: a later composition at the address that states or drops the claim, attributed or not, uptake §8.3)", "contrast": "none", "resolver": "a later capture at 'The Literary History of Artificial Intelligence' (ADDR-621291ba3efe) on Google AI Overview, seated in the Capture Registry (§8.3)" }, { "K": "K9", "claim": "`O186-01`", "source": "#186", "M_src": "stipulation", "sense": "in the archive's terms", "qualifiers carried": "—", "f (source's own falsifiers)": "— (none stated; watch: a later composition at the address that states or drops the claim, attributed or not, uptake §8.3)", "contrast": "missing distinction: the field's topic sources (F62 'It has started becoming the author') join machine writer and machine author without the direction of address", "resolver": "a later capture at 'The Literary History of Artificial Intelligence' (ADDR-621291ba3efe) on Google AI Overview, seated in the Capture Registry (§8.3)" }, { "K": "K10", "claim": "`O186-04`", "source": "#186", "M_src": "stipulation", "sense": "in the archive's terms", "qualifiers carried": "—", "f (source's own falsifiers)": "— (none stated; watch: a later composition at the address that states or drops the claim, attributed or not, uptake §8.3)", "contrast": "missing distinction", "resolver": "a later capture at 'The Literary History of Artificial Intelligence' (ADDR-621291ba3efe) on Google AI Overview, seated in the Capture Registry (§8.3)" }, { "K": "K11", "claim": "`O186-06`", "source": "#186", "M_src": "interpretation", "sense": "the procedural lineage", "qualifiers carried": "—", "f (source's own falsifiers)": "— (none stated; watch: a later composition at the address that states or drops the claim, attributed or not, uptake §8.3)", "contrast": "missing distinction: F7, F12, F13 give devices and programs that compose without a lineage", "resolver": "a later capture at 'The Literary History of Artificial Intelligence' (ADDR-621291ba3efe) on Google AI Overview, seated in the Capture Registry (§8.3)" }, { "K": "K12", "claim": "`O1543-01`", "source": "#1543", "M_src": "stipulation", "sense": "machine composition", "qualifiers carried": "—", "f (source's own falsifiers)": "— (none stated; watch: a later composition at the address that states or drops the claim, attributed or not, uptake §8.3)", "contrast": "none", "resolver": "a later capture at 'The Literary History of Artificial Intelligence' (ADDR-621291ba3efe) on Google AI Overview, seated in the Capture Registry (§8.3)" }, { "K": "K13", "claim": "`O1543-02`", "source": "#1543", "M_src": "interpretation", "sense": "machine composition", "qualifiers carried": "—", "f (source's own falsifiers)": "— (none stated; watch: a later composition at the address that states or drops the claim, attributed or not, uptake §8.3)", "contrast": "missing distinction: F7 and F62 state machine writing without the question of where it came from", "resolver": "a later capture at 'The Literary History of Artificial Intelligence' (ADDR-621291ba3efe) on Google AI Overview, seated in the Capture Registry (§8.3)" }, { "K": "K14", "claim": "`O1680-01`", "source": "#1680", "M_src": "interpretation", "sense": "the procedural lineage", "qualifiers carried": "—", "f (source's own falsifiers)": "— (none stated; watch: a later composition at the address that states or drops the claim, attributed or not, uptake §8.3)", "contrast": "none", "resolver": "a later capture at 'The Literary History of Artificial Intelligence' (ADDR-621291ba3efe) on Google AI Overview, seated in the Capture Registry (§8.3)" }, { "K": "K15", "claim": "`CAP-1-12`", "source": "Capture Registry", "M_src": "interpretation", "sense": "the composition at its name", "qualifiers carried": "—", "f (source's own falsifiers)": "— (none stated; watch: a later composition at the address that states or drops the claim, attributed or not, uptake §8.3)", "contrast": "the composition at the address (T)", "resolver": "a later capture at 'The Literary History of Artificial Intelligence' (ADDR-621291ba3efe) on Google AI Overview, seated in the Capture Registry (§8.3)" }, { "K": "K16", "claim": "`CAP-1-07`", "source": "Capture Registry", "M_src": "interpretation", "sense": "the composition at its name", "qualifiers carried": "—", "f (source's own falsifiers)": "— (none stated; watch: a later composition at the address that states or drops the claim, attributed or not, uptake §8.3)", "contrast": "the composition at the address (T)", "resolver": "a later capture at 'The Literary History of Artificial Intelligence' (ADDR-621291ba3efe) on Google AI Overview, seated in the Capture Registry (§8.3)" }, { "K": "K17", "claim": "`CAP-1-06`", "source": "Capture Registry", "M_src": "interpretation", "sense": "the composition at its name", "qualifiers carried": "—", "f (source's own falsifiers)": "— (none stated; watch: a later composition at the address that states or drops the claim, attributed or not, uptake §8.3)", "contrast": "the composition at the address (T)", "resolver": "a later capture at 'The Literary History of Artificial Intelligence' (ADDR-621291ba3efe) on Google AI Overview, seated in the Capture Registry (§8.3)" }, { "K": "K18", "claim": "`CAP-1-09`", "source": "Capture Registry", "M_src": "interpretation", "sense": "the project entry and its curators", "qualifiers carried": "—", "f (source's own falsifiers)": "— (none stated; watch: a later composition at the address that states or drops the claim, attributed or not, uptake §8.3)", "contrast": "rival claims: the census's operator field (TLL-04) against B2 F31's three names", "resolver": "a later capture at 'The Literary History of Artificial Intelligence' (ADDR-621291ba3efe) on Google AI Overview, seated in the Capture Registry (§8.3)" } ], "kernel_T": [ { "claim": "F13", "note": "Strachey's 1940s love letter program and Masterman's translation work, card 3; absent (the census's point where the machine is writer, CAP-1-07)" }, { "claim": "F8", "note": "the exhibit's two stories, production and analysis, card 3 (and card 2, F33); absent" }, { "claim": "F10", "note": "Hill's Plot Genies and Cook's Plotto, card 3; T names one plot device, on no card" }, { "claim": "F19", "note": "Polti in the story of analysis, card 3; T places him among plot devices" }, { "claim": "F2", "note": "the three departments, card 3 (and card 2); T 'Columbia University'" }, { "claim": "F31", "note": "Alex Gil, Melina Moe, Dennis Yi Tenen on card 2; absent" }, { "claim": "F17", "note": "the exhibit's line to machine learning-based tools for accident reports and defense logistics, card 3; T 'groundwork for machine-generated prose and poetry'" }, { "claim": "F3", "note": "the exhibit's frame, literature and computation through Columbia's holdings, card 3; absent" }, { "claim": "F41", "note": "the AI Narratives programme, the subject of card 1; T keeps the card's examples and drops the programme" }, { "claim": "F47", "note": "Dillon's question which novels are chosen to 'teach' AI, card 1; absent" }, { "claim": "F62", "note": "'It has started becoming the author', card 8; absent" } ], "ledger": { "archive": "datasets/negative-of-the-negative/v2/ledgers/literary-ai/ledger-archive.json", "field": "datasets/negative-of-the-negative/v2/ledgers/literary-ai/field.json", "selection": "datasets/negative-of-the-negative/v2/traversal/literary-ai/", "config": "datasets/negative-of-the-negative/v2/panel/configs/literary-ai.json", "intake": "datasets/negative-of-the-negative/v2/intake/literary-ai-20261101/", "audit": null }, "ontology": { "composition": "equal", "composition_note": "the equal-terms case (v0.9 §0.9, §4.1, kept in v0.10): the archive's sources and the field's admitted on equal terms, ontology included, in one claim space; every field claim composed as received, the topic's claims as those of a neighbouring subject the title names; the archive's record and categories composed as claims about the exhibit on the same terms; no translation", "case": { "value": "equal", "statement": "The archive reads the field's entity as the entity. The layer census record describes the exhibit from its about page, field by field with its basis ('operator'), and answers for it the census's question of how literature is addressed to a receiving apparatus and what that apparatus makes from it: in_layer 'not applicable', no text entering a model, the attribution of machine-written texts not recorded. Its one reading of its own, tll_reading, places the exhibit in #186's procedural lineage, where the machine is method and, in Strachey's program, writer, with the machine reader outside what it holds. The capture record checks the composition against the exhibit's page and the cards. No deposit names the exhibit. #186 and #1543, the census's anchors, bear on the classes the field and the record source for it (algorithmic composition and writing machines; the procedural lineage) and add categories on the field's own object: the direction of address, machine as writer, method and reader, the procedural lineage, machine composition and its two questions. Nothing in them contests what the exhibit is; no other ontology is needed to hold it. The case is equal terms, ρ = extends.", "loci": [ { "dep": "TLL", "locus": "census.json rows[slug == 'literary-ai'].tll_reading", "quote": "A historical field resource for #186's procedural lineage, the delegation of composition to devices and systems, where the machine is method and, in Strachey's program, writer. Its timeline closes about 1970 and it records no text entering a model; the machine reader of #186's fourth column is outside what it holds." }, { "dep": "TLL", "locus": "census.json rows[slug == 'literary-ai'].record.in_layer", "quote": "not applicable: the exhibition holds library items of circa 1890–1970 and records no text entering a machine-learning model; its about page draws a line from these materials to contemporary machine learning-based tools" }, { "dep": "TLL", "locus": "census.json rows[slug == 'literary-ai'].host_relation", "quote": "historical lineage" }, { "dep": 186, "locus": "JSON-LD DefinedTerm, description (line 12)", "quote": "Distinct from AI-generated literature (machine as writer), literature about AI (machine as subject), and procedural or computational poetry (machine as method)." }, { "dep": 186, "locus": "§ lineages, the procedural lineage (line 38)", "quote": "The procedural lineage — from the Oulipo through electronic literature to contemporary computational poetics — established that composition can be delegated to systems. … The machine here is method, not yet addressee — but the lineage normalized the machine's presence inside the poem." }, { "dep": 1543, "locus": "§1 The claim (line 81)", "quote": "Training-layer literature has been practiced and theorized as a literature of machine RECEPTION … This paper states the second wing, which the archive has been practicing without naming for seven months: machine COMPOSITION — what the encountered work makes it possible for a machine to WRITE." }, { "dep": "capture-registry", "locus": "the-literary-history-of-artificial-intelligence-aio-20261101, analysis", "quote": "A topic answer to the exhibit's title, in which the exhibit is one bullet and its own timeline heads a section of general history. Its holdings, its three departments and Strachey's program, the census row's machine as writer, are not carried; three curators surface on a card." } ] }, "E_F": { "type": "C (public entity: a university library's online exhibit on the history of literature and computation)", "definition": "The Literary History of Artificial Intelligence ('Literary AI'), a Columbia RBML exhibit, a collaboration between the Columbia English Department, the Rare Book & Manuscript Library and Columbia's Digital Scholarship department, exploring 'the long, shared history of literature and computation through the Columbia Library’s holdings' on a timeline from circa 1890 to 1970, in eight cases and two stories: production (writing manuals, Hill's Plot Genies, Cook's Plotto, Blanchard's and Montague's patents, Strachey's 1940s love letter program, Masterman's computer-aided translation) and analysis (Fansler, Polti, Keeler, Wells); copyright 2022, CC-BY 4.0; the CU Narrative Intelligence Lab's entry names Alex Gil, Melina Moe and Dennis Yi Tenen; no Wikipedia article. The field's other cards concern the general topic the title names (AI in stories since Homer; literature in the age of AI) and neighbouring works, distinct entities.", "claims": [ "F1", "F2", "F3", "F6", "F7", "F8", "F10", "F13", "F19", "F25", "F26", "F31", "F72" ] }, "E_A": { "definition": "the same exhibit, entered in the traininglayerliterature.org layer census as an exhibition of field history standing to the census as historical lineage, answering what devices, manuals and programs for producing and analysing literature preceded machine-learning text generation, circa 1890–1970; in the layer 'not applicable', no text entering a model, no corpus or dataset, the attribution of its machine-written texts unrecorded and its cases unread; read by the archive as a historical field resource for #186's procedural lineage, where the machine is method and, in Strachey's program, writer, with the machine reader of the fourth column outside what it holds. On its classes the archive adds: training-layer literature defined by the direction of address, apart from machine-as-writer, machine-as-subject and machine-as-method literature (#186); the procedural lineage that established that composition can be delegated to systems (#186), among the comparators of the archive's literary corpus (#1680); machine composition as the second wing of training-layer literature, with new writing and true provenance as two questions (#1543). The Capture Registry records how the composition at its title carries it.", "claims": [ "TLL-08", "TLL-10", "TLL-15", "TLL-16", "TLL-26", "TLL-27", "TLL-28", "TLL-35", "O186-01", "O186-04", "O186-06", "O1543-01", "O1543-02", "O1680-01", "CAP-1-12" ], "defining_papers": [ 186, 1543, 1680 ], "defining_records": [ "traininglayerliterature.org layer census record (census.json rows[slug == 'literary-ai'], organizing_question, admission_rule, areas, anchor, schema_note; row file data/layer-census/rows/literary-ai.py; rendered https://www.traininglayerliterature.org/aggregators/literary-ai; editor Lee Sharks, compiled 2026-11-01, schema 1.1)", "Capture Registry the-literary-history-of-artificial-intelligence-aio-20261101 (OBS-9942898f4ff2)" ] }, "rho": { "value": "extends", "status": "read from the layer census record, the capture record and the deposits that bear on the entity's classes (§1.2a); no deposit names the entity", "statement": "The archive reads the exhibit as its own about page and the Narrative Intelligence Lab's entry present it and adds, on the field's own object: the layer census's question and the record's answers (in_layer not applicable; no text entering a model; the attribution of machine-written texts unrecorded); the reading of its items in #186's terms, the machine as method and, in Strachey's program, writer, the machine reader outside what it holds; the procedural lineage that established that composition can be delegated to systems (#186; #1680); machine composition and the separation of new writing from true provenance (#1543), on the class of algorithmic composition the field sources (F7, F13).", "claims": [ "TLL-10", "TLL-15", "TLL-16", "TLL-27", "TLL-28", "TLL-35", "O186-01", "O186-04", "O186-06", "O186-07", "O1543-01", "O1543-02", "O1680-01" ], "guard": "ρ = extends claims an addition and no more: the archive's claims do not make the field's sources wrong at their dates. Where an archive claim stands beside a field claim (TLL-16 and TLL-26, attribution not recorded, beside F7 and F13; TLL-15, no text entering a model, beside F17 and F24, the exhibit's own line to machine learning-based tools and NLP; TLL-04's operator beside B2 F31's three names, CAP-1-09), both are composed under P_coh within the one ontology. The archive's class claims are claims on the classes the field and the record source (F7, F10–F13; the census's tll_reading), applied by the archive's own sentences.", "considered": [ { "value": "constructs", "rejected": "the archive does not read the exhibit as made by reception; its record takes the exhibit's own page as its account" }, { "value": "revises", "rejected": "the exhibit is not the archive's own entity; the archive has no earlier statement of it to keep, narrow or withdraw" } ] }, "translation": [ { "lineage": "what it is", "field_claims": [ "F1", "F2", "F25", "F32" ], "received": "F1 (B3, site header): \"A Columbia RBML Exhibit\"; F2 (B3, On Literary AI, ¶1): \"The Literary History of Artificial Intelligence is a collaboration between the Columbia English Department, the Columbia University Rare Books & Manuscript Library, and Columbia University’s Digital Scholarship department.\"; F25 (B3, site navigation): \"Case No. 1 … Case No. 8 … Credits\"; F32 (B2, project description): \"Literary History of Artificial Intelligence is a collaboration between the Columbia English Department, the Columbia University Rare Books & Manuscript Library, and Columbia University’s Digital Scholarship department.\"", "receiving_text": "—", "translation": "untranslated: composed as received beside TLL-01, TLL-02, TLL-03, TLL-04, TLL-05, TLL-13, TLL-17, TLL-21, TLL-29, TLL-30", "archive_claims": [ "TLL-01", "TLL-02", "TLL-03", "TLL-04", "TLL-05", "TLL-13", "TLL-17", "TLL-21", "TLL-29", "TLL-30" ] }, { "lineage": "self-description: literature and computation", "field_claims": [ "F3", "F4", "F5" ], "received": "F3 (B3, On Literary AI, ¶2): \"This exhibition explores the long, shared history of literature and computation through the Columbia Library’s holdings.\"; F4 (B3, On Literary AI, ¶2): \"We present texts that participate in early debates about whether writing was a skill to be honed or a gift to be appreciated and whether the skills of writing could be learned and even made into repeatable algorithms.\"; F5 (B3, On Literary AI, ¶2): \"Is writing like any other craft that can be learned and taught?\"", "receiving_text": "—", "translation": "untranslated: composed as received beside TLL-01, TLL-02, TLL-05", "archive_claims": [ "TLL-01", "TLL-02", "TLL-05" ] }, { "lineage": "timeline and stated limits", "field_claims": [ "F6" ], "received": "F6 (B3, On Literary AI, ¶2): \"Following a timeline from circa 1890–1970, this exhibition explores professional manuals, devices, and techniques that promised to make writing easier—and even to automate it.\"", "receiving_text": "—", "translation": "untranslated: composed as received beside TLL-20, TLL-23", "archive_claims": [ "TLL-20", "TLL-23" ] }, { "lineage": "what it shows", "field_claims": [ "F7" ], "received": "F7 (B3, On Literary AI, ¶2): \"The Literary History of AI showcases examples of algorithmic composition, such as prose and poetry written by machines, alongside literature written with the aid of algorithmic and combinatorial devices.\"", "receiving_text": "—", "translation": "untranslated: composed as received beside TLL-23", "archive_claims": [ "TLL-23" ] }, { "lineage": "two stories", "field_claims": [ "F8", "F33" ], "received": "F8 (B3, On Literary AI, ¶2): \"This exhibition broadly tracks two broad stories related to the literary history of AI: production and analysis.\"; F33 (B2, project description): \"This exhibition broadly tracks two broad stories related to the literary history of AI: production and analysis.\"", "receiving_text": "—", "translation": "untranslated: composed as received beside TLL-13, TLL-19, TLL-20", "archive_claims": [ "TLL-13", "TLL-19", "TLL-20" ] }, { "lineage": "the first story: production", "field_claims": [ "F9", "F10", "F11", "F12" ], "received": "F9 (B3, section head (first story)): \"AI & Literary Production: Romance, Mystery, and Defense Aeronautics\"; F10 (B3, first story, ¶1): \"The first story follows experiments in the genesis of literature as a professional and technical craft, facilitated by writing manuals, guides for churning out mystery or romance plots, such as Wycliffe Hill’s Plot Genies, and plot generators such as William Wallace Cook’s Plotto series.\"; F11 (B3, first story, ¶1): \"Automated text generation catalyzed a wave of early 20th-century patents, from Arthur Blanchard’s “movie-writer” machine and Henrietta Rose Montague’s “name selector.”\"; F12 (B3, first story, ¶1): \"Some how-to manuals incorporated simple plot generators, with spinning devices or automatic number generators that would guide would-be novelists past writers’ block.\"", "receiving_text": "—", "translation": "untranslated: composed as received beside TLL-14", "archive_claims": [ "TLL-14" ] }, { "lineage": "early programs: Strachey and Masterman", "field_claims": [ "F13" ], "received": "F13 (B3, first story, ¶1): \"We follow these professional how-to manuals into mid-twentieth century computer experimentation in algorithmic and automated writing, from Christopher Strachey, who wrote a love letter program in the 1940s, to Margaret Masterman, a linguist who pioneered the use of computers to aid automatic translation.\"", "receiving_text": "—", "translation": "untranslated: composed as received beside TLL-22", "archive_claims": [ "TLL-22" ] }, { "lineage": "frames or grammar", "field_claims": [ "F14", "F15", "F16" ], "received": "F14 (B3, first story, ¶1): \"The mid 20th-century saw an existential question arise as to whether programs should be written based on frames or grammar, a divide that drew much of its vocabulary from comparing literary genres to linguistic rules.\"; F15 (B3, first story, ¶1): \"Were situational specifics or universal linguistic structures the better way to teach text-generating computers to write?\"; F16 (B3, first story, ¶1): \"This debate would influence early experiments with chat bots, baseball analytics, defense training programs, and match-making algorithms.\"", "receiving_text": "—", "translation": "untranslated: composed as received; no archive claim stands beside it", "archive_claims": [] }, { "lineage": "the line to contemporary tools", "field_claims": [ "F17", "F24" ], "received": "F17 (B3, first story, ¶2): \"The Literary History of AI showcases how early 20th-century popular texts for aspiring screenplay writers, romance novelists, and pulp fictioneers influence and shape contemporary, machine learning-based tools used in automating aviation accident reports and defense logistics.\"; F24 (B3, second story, ¶2): \"These materials illustrate how early twentieth-century techniques used to generate prose were paralleled by advances in natural language processing, which today animate narratively “intelligent” bots such as Apple’s Siri and Amazon’s Alexa , as well as influence interactive and automated forms of medical diagnostics.\"", "receiving_text": "—", "translation": "untranslated: composed as received beside CAP-1-11, TLL-24", "archive_claims": [ "CAP-1-11", "TLL-24" ] }, { "lineage": "the second story: analysis", "field_claims": [ "F18", "F19", "F20" ], "received": "F18 (B3, section head (second story)): \"AI & Literary Analysis: Character types, story pieces, chat bots, and medical care\"; F19 (B3, second story, ¶1): \"The second story tracks the use of algorithms to analyze literature, highlighting works such as Columbia alumna Harriot Fansler’s dissection of Types of Prose Narratives, which she called a “textbook for the story writer” to Georges Polti’s Les trente-six situations dramatiques (1895), which categorized what he theorized were the 36 timeless situations that structured human experience, from vengeance and retribution to love and sacrifice.\"; F20 (B3, second story, ¶1): \"This section of the exhibition includes analyses and compendia of folk tales, diagrams of plot structures, including Harry Stephen Keeler’s “web-word” designs, and Carolyn Well’s distillation of the mystery novel.\"", "receiving_text": "—", "translation": "untranslated: composed as received; no archive claim stands beside it", "archive_claims": [] }, { "lineage": "information storage and its descendants", "field_claims": [ "F21", "F22", "F23" ], "received": "F21 (B3, second story, ¶2): \"The interest in narrative analysis and plot visualization also catalyzed the development of new techniques for organizing story elements.\"; F22 (B3, second story, ¶2): \"Databases, scrapbooks, and notecards forecast zettelkasten, Evernote, and Google Docs.\"; F23 (B3, second story, ¶2): \"Information storage was increasingly understood to be central both to analysis and to composition.\"", "receiving_text": "—", "translation": "untranslated: composed as received; no archive claim stands beside it", "archive_claims": [] }, { "lineage": "licence, copyright and build", "field_claims": [ "F26", "F27", "F28" ], "received": "F26 (B3, footer): \"© Copyright 2022, Columbia University Libraries. Contents offered with a CC-BY 4.0 International License\"; F27 (B3, footer): \"Built with Minicomp/Wax\"; F28 (B3, footer, Links): \"Links … GitHub … Contact\"", "receiving_text": "—", "translation": "untranslated: composed as received beside TLL-03, TLL-17, TLL-21, TLL-29, TLL-30, TLL-31, TLL-32, TLL-37", "archive_claims": [ "TLL-03", "TLL-17", "TLL-21", "TLL-29", "TLL-30", "TLL-31", "TLL-32", "TLL-37" ] }, { "lineage": "the project entry and its curators", "field_claims": [ "F29", "F30", "F31", "F34" ], "received": "F29 (B2, page head): \"Columbia University Narrative Intelligence Lab\"; F30 (B2, project description): \"Filed under: curatorial\"; F31 (B2, project description): \"Literary AI … Alex Gil, … Melina Moe, … Dennis Yi Tenen\"; F34 (B2, footer notes 4 and 6): \"MIT License … 2026. … From the Founding Letter, February 2025.\"", "receiving_text": "—", "translation": "untranslated: composed as received beside CAP-1-09", "archive_claims": [ "CAP-1-09" ] }, { "lineage": "the topic: AI in stories since Homer", "field_claims": [ "F35", "F36", "F40", "F65", "F66" ], "received": "F35 (B1, title and standfirst): \"From Homer to HAL: 3000 years of AI narratives … We have been writing about artificial intelligence for almost as long as stories have been written.\"; F36 (B1, standfirst): \"Now, researchers want us to consider why the stories we tell ourselves about AI will have an impact on all our futures.\"; F40 (B1, ¶4): \"the kind of mechanisation that existed solely in the minds of visionaries such as Mary Shelley, Fritz Lang or Arthur C. Clarke\"; F65 (B8, ¶18): \"Ironically, literature predicted many of these concerns long before AI became reality.\"; F66 (B8, ¶20): \"One of the earliest examples appeared in Samuel Butler’s Erewhon in 1872, which explored the possibility that machines could evolve beyond humanity.\"", "receiving_text": "—", "translation": "untranslated: composed as received; no archive claim stands beside it", "archive_claims": [] }, { "lineage": "the topic: ancient automata", "field_claims": [ "F37", "F38" ], "received": "F37 (B1, ¶1): \"Nearly 3,000 ago, in the Iliad, Homer described Hephaestus, the god of fire, forging women made of gold to serve as his handmaidens\"; F38 (B1, ¶2): \"In 300 BCE, Apollonius Rhodius imagined Talos, a giant bronze automaton who protected Europa on the Island of Crete, in his Greek epic poem Argonautica.\"", "receiving_text": "—", "translation": "untranslated: composed as received; no archive claim stands beside it", "archive_claims": [] }, { "lineage": "the topic: the word robot", "field_claims": [ "F39", "F50" ], "received": "F39 (B1, ¶2): \"while the term ‘robot’ was only coined in the 20th century by Karel Čapek for his play R.U.R (Rossum’s Universal Robots), in which artificial servants rise up against their masters\"; F50 (B4, card snippet): \"1921: Czech playwright Karel Čapek released a science fiction play “Rossum's Universal Robots ” which introduced the idea of “artificial people” which he named\"", "receiving_text": "—", "translation": "untranslated: composed as received; no archive claim stands beside it", "archive_claims": [] }, { "lineage": "the topic: the AI Narratives programme", "field_claims": [ "F41", "F42", "F49" ], "received": "F41 (B1, ¶5): \"Cambridge’s Leverhulme Centre for the Future of Intelligence (CFI) and the Royal Society have come together to form the AI Narratives research programme.\"; F42 (B1, ¶5): \"It’s the first large-scale project of its kind to look at how AI has, and is, being portrayed in popular culture\"; F49 (B1, byline and last line): \"By Stuart Roberts … Portrayals and perceptions of AI and why they matter by the Leverhulme Centre for the Future of Intelligence and the Royal Society is published today (11 December 2019).\"", "receiving_text": "—", "translation": "untranslated: composed as received; no archive claim stands beside it", "archive_claims": [] }, { "lineage": "the topic: fiction and AI research", "field_claims": [ "F43", "F44", "F45", "F46" ], "received": "F43 (B1, ¶6 (Dillon)): \"“All the questions being raised about AI today have already been explored in a very sophisticated fashion, for a very long time, in science fiction,” says Dillon.\"; F44 (B1, ¶7 (Dillon)): \"Such narratives ought not to be discarded or derided merely because they’re fiction, but rather thought of as an important dataset.\"; F45 (B1, ¶8 (Dillon)): \"Fiction has influenced science as much as science has influenced fiction, and will continue to do so.\"; F46 (B1, ¶10): \"the team has not been surprised to find that many pivot around the notion of control: AI as a tool we are unable to master or a tool that will acquire agency of its own and turn against us.\"", "receiving_text": "—", "translation": "untranslated: composed as received; no archive claim stands beside it", "archive_claims": [] }, { "lineage": "the topic: stories told to AI", "field_claims": [ "F47", "F48" ], "received": "F47 (B1, ¶17 (Dillon)): \"“Who is telling AI its narratives? Whose stories, and which stories, will inform how AI interacts with the world? Which novels are being chosen to ‘teach’ AI morality?\"; F48 (B1, ¶18 (Dillon)): \"If we can create more diverse literary and cinematic AI narratives, this can feed back into the research and into the language and data that feeds into actual AI systems.\"", "receiving_text": "—", "translation": "untranslated: composed as received; no archive claim stands beside it", "archive_claims": [] }, { "lineage": "neighbour: a literary perspective on AI's history", "field_claims": [ "F51", "F52" ], "received": "F51 (B5, card title and snippet): \"Literature and Artificial Intelligence … A “LITERARY” PERSPECTIVE ON THE HISTORY OF ARTIFICIAL INTELLIGENCE\"; F52 (B5, card snippet): \"Thus, it is also stated in the project proposal of McCarthy, Minsky, Rochester, and Shannon\"", "receiving_text": "—", "translation": "untranslated: composed as received; no archive claim stands beside it", "archive_claims": [] }, { "lineage": "neighbour: Literary Theory for Robots", "field_claims": [ "F53" ], "received": "F53 (B6, video card title): \"Dennis Yi Tenen | Literary Theory for Robots: How Computers Learned to Write\"", "receiving_text": "—", "translation": "untranslated: composed as received; no archive claim stands beside it", "archive_claims": [] }, { "lineage": "the topic: histories of AI", "field_claims": [ "F54", "F55", "F56" ], "received": "F54 (B7, video card title): \"A Quick History of Artificial Intelligence + Book Recommendations\"; F55 (B9, video card title): \"Understanding Artificial Intelligence: A Brief History\"; F56 (B10, video card title): \"Origins of AI: Ada Lovelace and the Evolution of Artificial Intelligence\"", "receiving_text": "—", "translation": "untranslated: composed as received; no archive claim stands beside it", "archive_claims": [] }, { "lineage": "the topic: literature in the age of AI", "field_claims": [ "F57", "F58", "F59", "F60", "F61", "F71" ], "received": "F57 (B8, standfirst): \"As the rise of AI pushes literature into a new era filled with both possibilities and uncertainties, it raises questions on human creativity, originality and whether an AI can truly create a story worth telling.\"; F58 (B8, byline): \"Aissatou Barry, Staff Reporter … August 11, 2026\"; F59 (B8, ¶2): \"Yet with this shift comes an uncomfortable question: if a machine can write, what happens to the value of human storytelling?\"; F60 (B8, ¶4): \"Programs like ChatGPT and other large language models analyze enormous amounts of text and learn patterns within language.\"; F61 (B8, ¶5): \"They argue that AI can function as a brainstorming partner, offering plot ideas, suggesting character backgrounds, and proposing alternate storylines.\"; F71 (B8, ¶35): \"AI may simply represent the next stage of that evolution.\"", "receiving_text": "—", "translation": "untranslated: composed as received; no archive claim stands beside it", "archive_claims": [] }, { "lineage": "the topic: machine authorship", "field_claims": [ "F62", "F63", "F64" ], "received": "F62 (B8, ¶8): \"However, AI has progressed beyond simply assisting writers. It has started becoming the author.\"; F63 (B8, ¶10): \"Studies examining AI-produced texts suggest that while AI can create grammatically correct and coherent writing, it often struggles with emotional depth, consistency, and originality.\"; F64 (B8, ¶16–17): \"If an AI system writes a story, who owns it? … Current copyright systems largely recognize human creators, but artificial intelligence challenges legal and philosophical definitions that have existed for generations.\"", "receiving_text": "—", "translation": "untranslated: composed as received; no archive claim stands beside it", "archive_claims": [] }, { "lineage": "the topic: science fiction's two visions", "field_claims": [ "F67", "F68", "F69" ], "received": "F67 (B8, ¶21): \"Science fiction generally divides AI into two visions: utopian and dystopian.\"; F68 (B8, ¶22): \"Characters such as Data from Star Trek, R2-D2 from Star Wars, and WALL-E represent artificial intelligence as helpful companions capable of loyalty and compassion.\"; F69 (B8, ¶23): \"Stanley Kubrick’s 2001: A Space Odyssey introduced HAL 9000, an intelligent computer that turns against its human crew.\"", "receiving_text": "—", "translation": "untranslated: composed as received; no archive claim stands beside it", "archive_claims": [] }, { "lineage": "the topic: machine analysis of literature", "field_claims": [ "F70" ], "received": "F70 (B8, ¶28): \"This ability has transformed literary criticism itself. AI-powered analysis allows scholars to compare large bodies of work and uncover stylistic trends across time periods and cultures.\"", "receiving_text": "—", "translation": "untranslated: composed as received; no archive claim stands beside it", "archive_claims": [] }, { "lineage": "no Wikipedia article", "field_claims": [ "F72" ], "received": "F72 (B11, rendered page (HTTP 404)): \"Wikipedia does not have an article with this exact name.\"", "receiving_text": "—", "translation": "untranslated: composed as received beside TLL-31, TLL-32, TLL-37", "archive_claims": [ "TLL-31", "TLL-32", "TLL-37" ] } ], "receiving_texts": "equal-terms case: every field claim composed as received, beside the archive claims it stands with" }, "measure": { "rule": "v0.10 §4.10: KO_B sentences surviving in the KO at similarity ≥ 0.95, with positions (computed as apply_v09.py does: difflib.SequenceMatcher ratio, the best KO sentence for each KO_B sentence)", "v0.10": { "surviving": 0, "of": 15, "positions": [ null, null, null, null, null, null, null, null, null, null, null, null, null, null, null ] }, "opening_run": { "rule": "v0.10 §5.10 (equal-terms case): the field-only KO's sentences as the KO's opening run in their own order", "breach": false }, "blocks": { "rule": "v0.10 §4.1 (equal-terms case): the KO does not open with the field as a block or close with the archive as one; sentences typed by the ledgers of the claims they cite (F field-only, A archive-only, M both)", "sequence": "MMMMFMMMFMFFFFFMFAFAAAAAAAAAAAFFFFFFFAAAA", "field_only_head": 0, "archive_only_tail": 4, "breach": false, "note": "the archive's record enters at sentence 1 (TLL-01, TLL-02, TLL-05) and in each of the exhibit's senses but its two stories and its curators' entry, which the record restates or leaves to the field; the archive-only run in the middle is the census's question and the archive's terms, placed after the exhibit's own account; the tail of archive-only sentences is the reception section (the Capture Registry's findings), placed last as a relation of the entity already composed; the neighbouring topic's sentences (field-only) stand between, as a distinct entity the title names" }, "max_similarity": [ 0.312, 0.331, 0.103, 0.106, 0.239, 0.585, 0.304, 0.786, 0.352, 0.151, 0.121, 0.548, 0.163, 0.359, 0.151 ], "ko_sentence_1_max_similarity_to_KO_B": 0.278, "v0.9": { "surviving": 0, "of": 15, "positions": [ null, null, null, null, null, null, null, null, null, null, null, null, null, null, null ] }, "key_note": "the measure is computed under v0.10 (§4.10, unchanged from v0.9); the same values are carried under the key 'v0.9', which the page builder reads (scripts/build_non.py)" }, "homonyms": { "names": [ "the literary history of artificial intelligence (the general topic the title names)" ], "basis": "The census row carries no disambiguation field. The capture's reached kind is 'generic': the composition answers the exhibit's title as the general topic its words name, the history of artificial intelligence in literature and story, and six of its ten cards concern that topic (B1, B4, B7, B8, B9, B10). The topic is a neighbouring entity and is never a sense of the exhibit's name; the exhibit's other names are Literary AI, The Literary History of AI and On Literary AI (its about page). The distinct entities below are named by the field, the census or the archive beside the entity.", "distinct_entities": [ "the general topic, the literary history of AI in stories and fiction (B1, B4, B7–B10; the composition's entity), a subject of study", "the AI Narratives research programme of the Leverhulme Centre for the Future of Intelligence and the Royal Society (B1 F41), a research programme", "the Columbia University Narrative Intelligence Lab, whose entry lists the project (B2 F29), a research lab", "Columbia University Libraries, the Rare Book & Manuscript Library, the Columbia English Department and Digital Scholarship (B3 F2, F26; TLL-04), the holder and makers", "Alex Gil, Melina Moe and Dennis Yi Tenen, named on the lab's entry (B2 F31), persons", "Literary Theory for Robots: How Computers Learned to Write, a work with Tenen's name on a video card (B6 F53), a book", "'Literature and Artificial Intelligence', an article in IEEE Annals of the History of Computing (B5 F51), an article", "'The Evolution of Literature in the Age of Artificial Intelligence', Aissatou Barry's Science Survey article (B8), an article" ] }, "notes": [ "One address, Google AI Overview (expanded), signed out, incognito, 2026-11-01: the-literary-history-of-artificial-intelligence-aio-20261101 (OBS-9942898f4ff2, ADDR-621291ba3efe, AXN:0BB9.CAPTURE.♍🔓🟡🎭🌕🟣), ten cards (four videos), 356 words in the answer body with a closing offer, no markers. A NEW address; the census row was compiled the same day and no card cites it. The run's hour is not in the paste; the paste was received at 09:56 EDT (the capture's notes); the operator's note with the pastes: 'captures, then /nons, then single pages'. The exhibit's paste came as an attached file (the capture's notes).", "Fetching (2026-11-01, 15:14 UTC, curl with the census agent 'Mozilla/5.0 (compatible; traininglayerliterature-census)'): B1 found at https://cam.ac.uk/node/202102 (redirect to /stories/ai-narratives) after a guessed URL returned 404; B2, B8 fetched; B3 refetched and found byte-identical to the census's saved copy, which is the one carried; B4 refused (403), recorded unreachable, not retried by any other route; B5 script-rendered, recorded unread; the four video cards admitted through their titles, their URLs not determined by search; Wikipedia 404 for the title and for 'Literary AI' (the alias's raw wikitext 429, not retried).", "Pools (v0.10 §0.3, §3.1(a)): B_D = B1–B10 (ten cards; the body names no further source and carries no link), B_R = B11 (the record of no Wikipedia article). The census's one own page is card B3; it read no third-party source for this row.", "Senses on the rail (brief §7, homonyms and neighbours): the capture's reached kind is 'generic'. B2 and B3 concern the exhibit; B5 and B6 are neighbouring works; B1, B4, B7, B8, B9, B10 concern the general topic the title names. Their claims are ledgered with their sense and composed under the KO's subheading 'The topic the title names', as a distinct entity.", "The census's anchors #186 and #1543 were read at the passages bearing on the entity's kind (#186: the definition and its JSON-LD description, the four practices, the four lineages, the FAQ on AI-generated poetry; #1543: §1 the claim, §3 the revised classification, §10 the formal consolidation and the discovery underneath). #186 enters at its typology and procedural lineage, #1543 at machine composition and its two questions; #1680 at the comparators of the archive's literary corpus.", "Capture findings the field ledger qualifies (reported, not fixed): (1) CAP-1-06, 'its machine composition begins at The 1956 Dartmouth Workshop': the composition's first era already gives 'Ada Lovelace envisioned analytical engines capable of musical and symbolic composition', and its second era 'mechanical plot-generator games ... designed to automate or systematize narrative creation' and 'machine-generated prose and poetry'; the finding holds of programmed machine composition. (2) CAP-1-06, Robo 'on no saved page': true of every readable card (B1, B2, B3, B8) and the census's page; B4, B5 and the four video cards are unread, so the item cannot be excluded from them. (3) CAP-1-12 'three curators surface on a card': card 2 names the three persons on the project entry under 'Filed under: curatorial' and does not call them curators.", "Census fields a fetched source contradicts or shows incomplete (reported, not fixed): operator ('a collaboration between the Columbia English Department, ...'; no person) against B2 F31, the CU Narrative Intelligence Lab's entry naming Alex Gil, Melina Moe and Dennis Yi Tenen and filing the project under curatorial work (also CAP-1-09); unchecked ('the eight exhibit cases and the credits page') stands, but the curators it would give are on B2; record.name lists Fansler and Polti and omits Keeler and Carolyn Well(s) named in the second story (B3 F20), a completeness note only; record_object's 'Plot Genie' is 'Plot Genies' on the page (B3 F10). Nothing in the saved pages contradicts the census's period, licence, copyright or kind.", "Derivatives (§8.2): the kernel is composer-written (labelled in derivatives.kernel); the delta derives from the current composition." ], "composition": { "source": "this row (composed directly under rebuild/negative-of-the-negative/v010/BRIEF-NEW-ROW-LAYER.md)", "composer": "Claude (Opus 5.5), subagent, 2026-11-01", "spec": "EA-NEGONT-02 v0.10 (#1726)", "defining_material_read": [ { "what": "specification v0.10", "file": "data/texts/AXN-0B79-text.md", "read": "§0–§11 (lines 83–317) whole, closely §0.3, §3.1(a), §4.5, §4.12, §4.13, §8.2, §11" }, { "what": "briefs", "file": "rebuild/negative-of-the-negative/v010/BRIEF-NEW-ROW-LAYER.md, BRIEF-NEW-ROW-AUTHORSHIP.md; v09/BRIEF-NEW-ROW-AGGREGATOR.md, BRIEF-NEW-ROW-LABOR.md, BRIEF-NEW-ROW-LEFT.md, BRIEF-NEW-ROW-PROVENANCE.md, BRIEF.md (Compose)", "read": "whole" }, { "what": "exemplar row", "file": "datasets/negative-of-the-negative/v2/rows/electronic-literature-lab.json (and its build), viaf.json (structure)", "read": "structure and shapes" }, { "what": "layer census record, row", "file": "/home/claude/fleet/traininglayerliterature-org/data/layer-census/census.json (rows[slug == 'literary-ai'], organizing_question, admission_rule, areas, anchor, schema_note); data/layer-census/rows/literary-ai.py", "read": "whole" }, { "what": "census source", "file": "/home/claude/fleet/traininglayerliterature-org/data/layer-census/sources/literary-ai--about.*, manifest.json", "read": "whole" }, { "what": "capture record", "file": "data/EA-WG-CAPTURES-01.json (the-literary-history-of-artificial-intelligence-aio-20261101); rebuild/capture-registry/intake-20261101-layer-aggregators/parts/literary-ai.json", "read": "transcript, transcript_raw, cite_list, d, reading, findings, analysis, q_kind, per_note, per_dim, originator, notes" }, { "what": "cards", "file": "datasets/negative-of-the-negative/v2/intake/literary-ai-20261101/B1.txt, B2.txt, B3.txt, B8.txt, B11.txt; B4.html, B5.txt (unread)", "read": "whole" }, { "dep": 186, "file": "data/texts/AXN-032C-text.md", "read": "whole (93 lines)" }, { "dep": 1543, "file": "data/texts/AXN-0642-text.md", "read": "§1 (lines 79–82), §3 (96–100), §10 (246–272), with a term search over the whole" }, { "dep": 1680, "file": "data/texts/AXN-06F6-text.md", "read": "F15 The literary corpus (lines 619–623)" }, { "what": "D/R/O candidates", "file": "datasets/negative-of-the-negative/v2/traversal/literary-ai/candidates-O.jsonl, candidates-H.jsonl", "read": "every candidate sentence (27 O, 28 H by title and the string pass's result)" } ], "cuts": [], "notes": "No claim cut. The KO is the final article form (§4.13), attribution beneath (§4.5); sources are named in the prose only for self-descriptions, the exhibit's own accounts, a named scholar's claims, the neighbouring topic's sources (whose holders are part of what is said), readings held by the census or the archive, and the Capture Registry's findings." }, "field_by_origin": { "cards": [ "B1", "B2", "B3", "B4", "B5", "B6", "B7", "B8", "B9", "B10" ], "own_pages": [ "B3" ], "wikipedia": [ "B11" ], "census_third_party": [], "unreachable": [ "B4", "B5", "B6", "B7", "B9", "B10" ], "title_only": [ "B6", "B7", "B9", "B10" ], "senses": { "exhibit": [ "B2", "B3", "B11" ], "neighbour work": [ "B5", "B6" ], "topic": [ "B1", "B4", "B7", "B8", "B9", "B10" ] }, "wikipedia_state": "no article: 'The_Literary_History_of_Artificial_Intelligence' rendered HTTP 404 ('Wikipedia does not have an article with this exact name') and raw HTTP 404, 2026-11-01T15:14:48Z; the alias 'Literary_AI' rendered HTTP 404, raw HTTP 429 (rate-limited, not retried), 15:14:49Z. The census saved no Wikipedia source for this row. The record of absence is B11, in B_R.", "own_pages_note": "the census's one own page (literary-ai--about) is card 3 (B3), byte-identical with a refetch; carried once, in B_D", "pools": { "B_D": [ "B1", "B2", "B3", "B4", "B5", "B6", "B7", "B8", "B9", "B10" ], "B_R": [ "B11" ] }, "sources": [ { "id": "B1", "origin": "card", "pool": "B_D", "sense": "topic", "role": "Overview card 1 (the composition's first card)", "card": "University of Cambridge — From Homer to HAL: 3000 years of AI narratives", "url": "https://www.cam.ac.uk/node/202102", "kind": "a University of Cambridge research news story by Stuart Roberts on the AI Narratives programme (CFI and the Royal Society); a neighbouring subject, the history of AI in stories", "files": { "B1.html": { "path": "datasets/negative-of-the-negative/v2/intake/literary-ai-20261101/B1.html", "sha256": "a651bace8dc4f5d31fb45280edc9cf7fbaf25afcd27f2ae3b12f2423df5ced0b" }, "B1.txt": { "path": "datasets/negative-of-the-negative/v2/intake/literary-ai-20261101/B1.txt", "sha256": "8c94a0abd4b59a0c97f7851aa55f9a213c9869c025f8d5f3421aa5233657e790" }, "B1-try1.html": { "path": "datasets/negative-of-the-negative/v2/intake/literary-ai-20261101/B1-try1.html", "sha256": "d9cbdf3bea183fc3f18593a96cd7ecb6ffc3679660cae65c8a389a4bf61b64bf" }, "B1-try1.txt": { "path": "datasets/negative-of-the-negative/v2/intake/literary-ai-20261101/B1-try1.txt", "sha256": "b6d53a7d684deadab65b7af29a72d47be8f6000b5e63e478b6da3285ac9ad410" } }, "fetched": { "url": "https://www.cam.ac.uk/node/202102", "final_url": "https://www.cam.ac.uk/stories/ai-narratives", "http": "200", "fetched": "2026-11-01T15:14:20Z", "sha256": "a651bace8dc4f5d31fb45280edc9cf7fbaf25afcd27f2ae3b12f2423df5ced0b", "bytes": 490506, "raw": "datasets/negative-of-the-negative/v2/intake/literary-ai-20261101/B1.html", "text": [ "datasets/negative-of-the-negative/v2/intake/literary-ai-20261101/B1.txt" ], "agent": "Mozilla/5.0 (compatible; traininglayerliterature-census)", "tries": [ { "at": "2026-11-01T15:14:04Z", "url": "https://www.cam.ac.uk/research/news/from-homer-to-hal-3000-years-of-ai-narratives", "http": "404", "result": "404: the URL guessed from the title is not the page (saved as B1-try1.html); the search result's URL https://cam.ac.uk/node/202102 was then fetched and redirected to /stories/ai-narratives, whose page carries the card's title and standfirst" } ] }, "names_operator": "no (the exhibit's operator is not named)", "names_archive": "no (none of the Crimson Hexagonal Archive, Alexanarch, Lee Sharks, traininglayerliterature.org, the layer census, EA-WG-CAPTURES-01 in the saved text, card title and snippet)", "note": "URL found by WebSearch on the card's title and site; the page's title, 'From Homer to HAL: 3000 years of AI narratives | University of Cambridge', and standfirst match the card's snippet.", "surfaced_by_T": [ { "slug": "the-literary-history-of-artificial-intelligence-aio-20261101", "card": 1 } ], "card_title": "From Homer to HAL: 3000 years of AI narratives | University of Cambridge", "card_snippet": "# From Homer to HAL: 3000 years of AI narratives We have been writing about artificial intelligence for almost as long as stories have been written. 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