Electronic Literature Collection

register entry electronic-literature-collection-aio-20261101 OBS-d86789249e46 · file as first run sha256 690c0e4b7cb70a31…

• T1-1 access: 'The Electronic Literature Collection is open-access and free to read online:' with the link 'Electronic Literature Collection website: Explore digital-born literature and anthologies published by the Electronic Literature Organization.' (the link is card 1's)
• T1-2 definition: 'The Electronic Literature Collection is a periodical publication produced by the Electronic Literature Organization (ELO) featuring current and historical digital-born literary works.' (four markers)
• T1-3 medium: 'These pieces are created on and designed for computers or mobile devices, utilizing formats that cannot be replicated in traditional print.' (the same marker group)
• T1-4 volume: 'Volume 1: Released in October 2006'
• T1-5 volume: 'Volume 2: Released in February 2011 (81 works)'
• T1-6 volume: 'Volume 3: Released in February 2016'
• T1-7 volume: 'Volume 4: Released in June 2022 (featuring 132 works across 31 languages from 42 nationalities, optimized for mobile)' (three markers for the list)
• T1-8 forms: 'Formats: Includes hypertext fiction, kinetic poetry, generative and combinatory forms, network writing, codework, 3D, and narrative animations.'
• T1-9 access and media: 'Access: Entirely open access and free to read online, with past volumes also distributed via physical media like USB drives or CD-ROMs.' (four markers, the first the shopping listing of card 6)
• T1-10 closing offer: 'Would you like to know more about how to submit a work to the ELO, or are you looking for specific types of e-lit (like hypertext fiction or kinetic poetry)?'

• B1 Electronic Literature Organization — Electronic Literature Collection fetched 2026-11-01T15:13:13Z HTTP 200, sha256 7f2a4e3496731e4842b4c6ab2911c79476766a3c880c8cafba6f9caad7e986cc (byte-identical to the census copy)
• B2 PDXScholar — Electronic Literature Collection Volume 4 - PDXScholar - Portland State University fetched 2026-11-01T15:13:14Z HTTP 200, sha256 b5affc58d40286dee56d4dc6e351633953e02dd93ccbc400ef9421114d506b6d
• B3 WIKI Creative Commons — Electronic Literature Collection - Creative Commons Wiki fetched 2026-11-01T15:13:14Z HTTP 200, sha256 6bdb31d7996fb2b3bfa116b7a059b84ada0d9db7d1e32a999fd87b4b420e019c
• B4 the-next.org — The Electronic Literature Collection Volume 2 - The NEXT fetched 2026-11-01T15:13:14Z HTTP 200, sha256 67a05a29e5728e41eb322a45d8d8b98ddc675623b3cebb91739a83ce438210e3
• B5 YouTube·Digital Humanities Initiative — Electronic Literature: An Introduction unreachable: video card, URL not found (two searches); title stands as its only text
• B6 Google — 25+ Copies Paperback Book Electronic Literature (New Horizons for the Literary), 9780268030858, Bulk Quantity fetched once 2026-11-01T15:13:15Z HTTP 200, a script-rendered Google page with no listing text (B6-try1.html sha256 74412792e861d7062e570f06e86d4846211b439d2886d80a61038adde1bc933a); unread, the snippet its only text
• B7 Wikipedia — Electronic Literature Organization - Wikipedia (section 'Electronic Literature Collections') census copy (fetched 2026-11-01T04:07:53Z HTTP 200), gunzipped, sha256 f94079547b89e37f6d689207e6ef635acc096485b7445eaccd595735809e7232
• B8 collection.eliterature.org/3 — Electronic Literature Collection, Volume 3: The Readers Project (work page) census copy (fetched 2026-11-01T05:07:09Z HTTP 200), gunzipped, sha256 a0e466d1a6bf6cd38ff8a032b22b032dba0a06cc19a78766c8c37a472a7c8a27; works.js fetched 2026-11-01T15:14:05Z HTTP 200, sha256 4e13ee2ef718117c6e21f82e151e1b8fbd63842863fc84684eab54651f9ff25d

E_A, the archive's entity: the same collection, entered in the traininglayerliterature.org layer census as an anthology in the historical lineage, under field history and writing addressed to a machine reader; on the saved home page, whether its works are in the layer, under what names, how they are read back and what is made from them are not recorded; read by the archive as the canonizing anthology of the procedural lineage, in which the machine is method and not yet addressee, whose value for the layer sits at the level of works (The Readers Project, software readers that compose from what they read); an anthology being, in the archive's account, an instrument of selection and a lossy witness layer whose omissions pass downstream, as the training set is 'the anthology of the AI era' TLL-05 TLL-06 TLL-07 TLL-08 TLL-09 TLL-12 TLL-13 TLL-14 TLL-15 TLL-25 TLL-26 TLL-33 TLL-34 O186-02 O186-03 O102-02 O1546-01 O1053-01 O1543-01; defining papers #186, #1543, #102, #261, #176, #400, #1678, #317, #1546, #1053, #1052, #1420

E_F, the field's entity (type C — a conventional reading holds it (public entity: a curated anthology of electronic literature in four volumes, a publication of the Electronic Literature Organization)): the ELO's publication of curated, edited volumes of electronic literature at collection.eliterature.org: Volume 1 (October 2006), Volume 2 (February 2011; 81 works; eds. Borràs, Memmott, Raley, Stefans), Volume 3 (February 2016; The Readers Project among its works), Volume 4 (June 2022; 132 works, 31 languages, 42 nationalities; five editors); free on the Web, with USB copies of volumes 1 and 2 by mail; in 2008 a 'periodical publication' online and on CD-ROM under a Creative Commons license; its publisher the ELO (founded 1999), placed by Wikipedia at York University and by the collection's page in care of Washington State University Vancouver

ρ = extends: The archive reads the collection as its home page, its volume records and Wikipedia present it and adds, on the field's own object: the census's question of how literature is addressed to a receiving apparatus, with the record's answers (not recorded on the home page); the procedural lineage, in which electronic literature made the machine method and not yet addressee (#186), and electronic literature set beside writing addressed to machine readership (#400); the anthology as an instrument of selection, a lossy witness layer and the model of the training set (#102, #261, #1546, #1053, #1052, #1420); machine composition as the test The Readers Project meets (#1543). It does not read the collection as made by reception, nor as its own entity. TLL-09 TLL-12 TLL-13 TLL-14 TLL-25 TLL-26 O186-02 O186-03 O400-01 O102-02 O1546-01 O1543-01. 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-14 'no search or catalogue' beside B4 F34 and B2 F15; TLL-24 beside B2 F20, F21; TLL-28 beside B2 F16 and B3 F27; TLL-20, TLL-29 beside B1 F8), both are composed under P_coh, the census's claims at the scope of its saved sources.

The case: equal terms, ontology included (v0.9). The archive reads the field's entity as the entity. The layer census record describes the collection from its own home page and from the ELO's Wikipedia article, field by field with its basis, and answers for it the census's question of how literature is addressed to a receiving apparatus and what is made from it: 'not recorded' on the saved home page. Its reading of its own takes the collection as the canonizing anthology of the procedural lineage #186 names and places its value for the layer at the level of works, The Readers Project first. The deposits that bear on it do so at its classes (electronic literature, anthologies, machine composition, mezangelle) and add senses to the field's object; none contests what the collection is. ρ = extends gives the equal-terms case (§1.2a).

#TLL census.json rows[slug == 'elc'].tll_reading: The archive reads the ELC as the canonizing anthology of the procedural lineage #186 names (electronic literature, where the machine is method), whose value to this census sits at the level of works: Volume 3 holds a record of The Readers Project, software readers that compose from what they read. The saved home page lists volumes only and says nothing of a machine reader or of training, so the selection of relevant works waits on traversal of the volumes.

#TLL census.json rows[slug == 'elc'].kind: a publication of the Electronic Literature Organization: curated, edited volumes of electronic literature, published on the Web and as a physical version

#TLL census.json rows[slug == 'elc'].host_relation: historical lineage

#186 the procedural lineage (line 38): The procedural lineage — from the Oulipo through electronic literature to contemporary computational poetics — established that composition can be delegated to systems.

#102 satellite page outline (line 275): The training set is the anthology of the AI era: a selection event that retroactively determines which texts become culturally reproducible and which become invisible.

#1543 §1 (line 81): not literature that teaches a machine what to say about it, but literature that changes what the machine can write after encountering it.

equal-terms case: every field claim composed as received, beside the archive claims it stands with. Reading the received column recovers the field (§5.9).

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 0 of 15 (positions [None, None, None, None, None, None, None, None, None, None, None, None, None, None, None]; composed first under v0.10, so there is no v0.7 object to measure against). Opening-run check (§5.10): no breach.

The Electronic Literature Collection, a publication of the Electronic Literature Organization, comprises four curated volumes dated October 2006, February 2011, February 2016 and June 2022. A Creative Commons wiki entry of 2008 calls it a periodical publication of current and older electronic literature for individual, library and classroom use, online and on CD-ROM, its contents under a Creative Commons license. The ELO, founded in Chicago in 1999, gives the collection an address in care of Washington State University Vancouver, while Wikipedia places it at York University under Caitlin Fisher and its infobox names Anastasia Salter president. Volume 2 holds 81 works edited by Laura Borràs, Talan Memmott, Rita Raley and Brian Stefans, on flash drive and the web; its files passed to the Electronic Literature Lab in 2018 and to the ELO server in 2019. Volume 4, edited by Berens, Murray, Skains, Torres and Zamora, holds 132 works in 31 languages from authors of 42 nationalities, open access and mobile-ready. Its editors describe electronic literature as digital-born, playful and interactive and the volume as the most inclusive yet, with commercial VR and video games beside database fictions and works that play with AI. They sought new and Indigenous makers, used international consultants for evaluation, and name the work left in decentering patriarchal and imperial standards. Marino named works by Morrissey, Joyce, Moulthrop, Memmott and Pullinger pillars of the first volume; Wikipedia lists third-volume works by Chen, Porpentine, Short and Daly and others, and Pawlicka reads ELC3 as post-code literature. The third volume holds The Readers Project by John Cayley and Daniel Howe, software readers acting also as text generators, and the fourth a reprise of Meghadutam and authors writing in Mezangelle among thirty-one languages. Tim Wright notes that gathering, archiving and tagging works also freezes what was ephemeral. Libraries, educators and individuals may request a free USB of volumes 1 and 2; a commented-out line says the physical ELC3 is forthcoming. The NEXT lists Volume 2's 81 works by creator, searchable, and PDXScholar offers a dataset of Volume 4's works under a CC BY-NC-ND licence. The Electronic Literature Lab preserves Volume 3's Flash works with Ruffle and Conifer, one of them unpreserved in 2022. The ELO also keeps the Electronic Literature Directory, a separate database of works. A video introduction to electronic literature and a bulk listing of the book Electronic Literature: New Horizons for the Literary stood on the composition's rail.

The Electronic Literature Collection (ELC) is a publication of the Electronic Literature Organization (ELO): curated, edited volumes of electronic literature, four so far, which the traininglayerliterature.org layer census holds as an anthology in the historical lineage of literature addressed to a receiving apparatus. Its home page at collection.eliterature.org lists Volume 1 (October 2006), Volume 2 (February 2011), Volume 3 (February 2016) and Volume 4 (June 2022), and gives the organization's mailing address in care of Washington State University Vancouver. A Creative Commons wiki entry last edited in April 2008, before the second volume, describes it as a periodical publication of current and older electronic literature in a form suitable for individual, public library and classroom use, published by the ELO, a 501(c)(3) literary nonprofit. The collection is one of the ELO's publications and stands apart from the organization itself and from its separate database of works, the Electronic Literature Directory; the ELMCIP Knowledge Base holds records of its first three volumes among its critical writing. The ELO was founded in Chicago in 1999 by Scott Rettberg, Robert Coover and Jeff Ballowe, "to promote and facilitate the writing, publishing, and reading of electronic literature"; it hosts conferences, gives annual prizes and has published a series of collections, and its infobox lists Davin Heckman as Managing Director of CELL. Its Wikipedia article places it at York University in Toronto under the leadership of Caitlin Fisher, president since July 2022, while the same article's infobox names Anastasia Salter as president and the collection's own page gives the Vancouver address. The layer census, whose question is how literature is addressed to a receiving apparatus, what that apparatus makes from it and how transmission can be inspected across later reception, asks of the collection which works of electronic literature the ELO selected into its four volumes, and when. It files the collection under field history and under writing addressed to a machine reader, counts its unit as a volume holding works, and marks it off from a training corpus and from writing for the machine reader by its own statement, since its sources describe curated volumes for readers and name no machine addressee. On the census's record the saved home page says nothing of crawling or training, names no work, shows no search or catalogue and records nothing of what a receiving apparatus makes from the works, and whether any of its works is in a training corpus or a model is left unanswered. The census reads the collection as the canonizing anthology of the procedural lineage, whose value for the training layer sits at the level of works, and holds that the selection of relevant works waits on traversal of the volumes, whose tables of contents it did not save. The second volume, edited by Laura Borràs, Talan Memmott, Rita Raley and Brian Stefans, is an anthology of 81 works of electronic literature published on flash drive and the web in 2011. The fourth volume, a book of 2022 edited by Kathi Inman Berens, John Murray, Lyle Skains, Rui Torres and Mia Zamora, gathers 132 literary works in 31 languages by authors of 42 nationalities; it is open access, free to read and runs well on mobile devices, and its record gives its address and a persistent identifier. Its record calls it the fourth and most inclusive volume in the definitive collection of digital literature from around the world. Mark Marino, writing in Digital Humanities Quarterly, singled out among the first volume's works Judd Morrissey's The Jew's Daughter, Michael Joyce's Twelve Blue, Stuart Moulthrop's Reagan Library, Talan Memmott's Lexia to Perplexia and Kate Pullinger's Inanimate Alice as "pillars of electronic writing" that transcend the collection. The second volume's copy at The NEXT lists its works by creator, among them David Clark's 88 Constellations for Wittgenstein, Mary-Anne Breeze's _cross.ova.ing 4rm.blog.2.log 07/08 XXtracts_, Mark C. Marino's a show of hands, Rui Torres's Amor de Clarice, Caitlin Fisher's Andromeda and Nick Montfort's Book and Volume. Wikipedia names in the third volume works by Qianxun Chen, Porpentine, Borsuk, Illya Szilak, Emily Short and Liza Daly, Jeremy Height, J.R. Carpenter, Mark Marino and Rob Wittig, Caitlin Fisher, Anna Anthropy and N. Katherine Hayles, and reports Urszula Anna Pawlicka's reading of ELC3 as a "post" code range of literature. The third volume also holds The Readers Project by John Cayley and Daniel Howe (2009), which its authors describe as a framework of custom software agents, called readers, that explore the culture of human reading and, in the traces of their paths, act also as "text generators," writing machines. Its editors note that one outcome of the project is How It Is in Common Tongues, an algorithmic reading, reconstruction and reproduction of Samuel Beckett's How It Is, and that the project shows how electronic literature can serve as a kind of digital humanities. The fourth volume holds a reprise of Priti Pandurangan's Meghadutam, and its authors write in thirty-one languages from Afrikaans and Ancient Chinese to South African Sign Language and Yoruba, Mezangelle among them. The fourth volume's record defines electronic literature as digital-born, playful and interactive, and sets its first commercial works, VR experiences playable without headsets and narrative video games, beside the more numerous open-access works: database fictions, autoethnographies by GenZ makers, works that play cleverly with AI and geospatial storytelling. The archive cites N. Katherine Hayles's account of electronic literature as "text as process", works that exist through computation. The fourth volume's editors set out to welcome artists who might never have heard of elit, sought works by Indigenous makers, found new makers at live-streamed performances and virtual exhibits, and relied on international consultants who wrote evaluations in languages the editors did not speak. They record many more BIPOC, queer and female or female-identifying authors than in earlier volumes, and state their own limit: much work remains in decentering patriarchal and imperial culture as the implied standard of elit. The layer census records that its saved sources state no editorial procedure; the fourth volume's record, which the census did not read, states parts of one. The home page invites libraries, educators and individuals to request a free USB copy of volumes 1 and 2 by mail, and the volumes are free on the Web. A line kept in an HTML comment in the page's source, and so not displayed, states that each volume is published on the Web and as a physical version and that the physical publication of ELC3 is forthcoming; the census carries the line as the page's stated limit and its lifecycle. The 2008 wiki entry gives the first volume's media as online and a packaged, cross-platform CD-ROM for libraries, and states that the contents are offered under a Creative Commons license so that libraries and schools may duplicate and install works; the fourth volume's record carries a CC BY-NC-ND 4.0 licence; the census records the licence as not stated in its saved sources. The fourth volume's record also offers a dataset of its works, identity keywords excluded, as the JSON file used to render the site. In 2018 the ELO gave the second volume's local files to the Electronic Literature Lab for the ELO Repository website, hosted by the Electronic Textual Cultures Lab, and in 2019 the files moved to the ELO server; The NEXT holds copies of its 81 works, searchable and sortable by creator, date, format and title. The third volume's work pages carry the Electronic Literature Lab's notes on preserving Flash works with Ruffle and emulating them with Conifer from 2021 to 2025, among them a work it could not preserve in February 2022; the census notes that the saved page does not say which work each note concerns. Tim Wright, writing of the second volume, observes that gathering, archiving and tagging the works to make them more easily available "also freezes (necessarily) what may have been otherwise ephemeral or in situ". In the archive's field survey of training-layer literature, which sorts writing about, with, through and for AI by the direction of its address, electronic literature belongs to the procedural lineage, from the Oulipo to computational poetics, which established that composition can be delegated to systems; in the survey's words, "The machine here is method, not yet addressee". The survey finds the first three columns established and increasingly well-anthologized, and holds that their texts are in the corpora and are read by machines incidentally. The archive's executive summary sets electronic literature, which explores digital form, beside training-layer literature, which addresses machine readership; its protocols name electronic literature among the precedents of a corpus composed for machine reception, and its account of its own academy lists electronic literature among the comparators of its literary work. The survey names mezangelle, one of the fourth volume's languages, a fused code-English that anticipated writing legible to parsers and people simultaneously. The archive treats the anthology as an instrument of selection: canon formation is a question of which texts are anthologized, anthology inclusion is one of the mechanisms that order meaning by comparative visibility, anthology studies study anthologies as canon-forming instruments, and the training set is the anthology of the AI era, its filtering pipeline the new anthology editor. In its model of transmission an anthology is one witness layer among performance, quotation, manuscript, print edition, index, retrieval and composition, each applying a lossy operator to structure and attribution; omissions made by anthology editions or training corpora are inherited by every downstream reader of the derivative forms, and models trained on anthology corpora inherit them. It names the stratigraphic fallacy, the reading of a designed sequence as a deposition sequence, "the anthology mistaken for a core sample". The census's reason for holding the collection in the layer is The Readers Project, whose readers act also as text generators; the archive's second wing of training-layer literature, machine composition, asks what an encountered work makes it possible for a machine to write. The archive's substrate-neutral genus counts literature whose transmission design addresses a receiving apparatus, with internalization, downstream composition and source-status governance, and holds that the human institutional layers were the first receiving apparatus. Asked for the collection on 1 November 2026, Google's AI Overview called it open access and free to read, named its publisher, dated its four volumes, listed forms and media, and offered help with submitting a work. The Capture Registry finds it composed accurately at the level of the volumes and their dates with counts taken from cards, the ELO named without its place, and none of the fourth volume's editors named, though the PDXScholar card names them. The Registry finds '132 works' and '42 nationalities' on no saved source, and CD-ROM on no saved page; both figures stand on the PDXScholar card, the CD-ROM on the Creative Commons wiki card, and the census's sources hold none of them. It notes that "periodical publication" is the wiki card's term, the ELO's own line being "A Publication of the Electronic Literature Organization". It finds no work, author or language named, The Readers Project not reached, and the sixth card a bulk listing of a book, Electronic Literature (New Horizons for the Literary), the title the archive cites as Hayles's of 2008; the rail also carried a two-minute video introduction to electronic literature, unread here.

current · derived from the current composition

T against L_F(B) (AIO's ontology at work on its own cards): At 'Electronic Literature Collection' (T1, six cards: B1 the collection's home page, B2 PDXScholar's record of Volume 4, B3 the Creative Commons wiki entry of 2008, B4 The NEXT's page for Volume 2, B5 a video card, unread, B6 a shopping listing for a book of the same subject, unread; 151 words in the answer body, 11 markers, and a closing offer) the composition gives the collection's access, its publisher, a definition, the four volumes with their dates and two counts, forms and media. Composed from its cards: the publisher (B1 F1, B3 F28); the four dates (B1 F2–F5); 'periodical publication of current and ... older electronic literature' (B3 F25) as 'current and historical'; Volume 2's 81 works (B4 F30); Volume 4's 132 works, 31 languages, 42 nationalities and mobile reading (B2 F12, F13); open access (B2 F13); USB and CD-ROM (B1 F6, B3 F26, B4 F30). Available and not composed (B_D): the address in care of Washington State University Vancouver (B1 F7); both volumes' editors (B2 F9, B4 F31); every work and author on card 4's list (B4 F35); the languages, Mezangelle among them (B2 F17); the selection by consultants and the editors' search for new makers (B2 F20–F22) and their stated limit (B2 F23); 'most inclusive' (B2 F14); the works that play with AI and the commercial works (B2 F18, F19); the dataset of Volume 4's works (B2 F15) and The NEXT's searchable copies (B4 F34); the licences (B2 F16, B3 F27); the custody of Volume 2's files (B4 F32, F33). Limit dropped: B3's description is composed as the collection's present state without its date (F29, April 2008, before three of the four volumes), so 'periodical publication' and 'CD-ROMs' stand for all volumes; B1 F6's 'volume 1 and 2' becomes 'past volumes', its requesters and its mail order dropped. Assigned to another: the Access bullet's first marker is card 6, a bulk listing of a book, which states nothing of the collection's access. Composed without attribution: the counts at their source's grain (recorded: facts at the source's resolution, no framework). Substituted reading: the forms list names forms on no card (hypertext fiction, kinetic poetry, codework, narrative animations) while the card's own list (works that play with AI, database fictions, VR, games) is not composed. Content replaced by use: the closing offer on submitting a work. The Capture Registry's findings are carried as the archive's claims (CAP-1-01–CAP-1-14); two are shown wrong at card grain by this ledger: '132 works' and '42 nationalities' (CAP-1-03) and the CD-ROM (CAP-1-04) stand on cards 2 and 3, which the census had not saved; the 'forthcoming ELC3' the Registry finds not carried stands only in an HTML comment of card 1 (F8).

Read against its own cards, the composition keeps the collection at the grain of its volumes and drops, wherever a card names a person, the person: the editors of Volume 4 on card 2, the editors and every creator of Volume 2 on card 4. It takes the 2008 wiki entry's definition and media as present, and replaces the cards' own forms, among them the works that play with AI, with a list no card gives.

L_F(B) against L_A(B ∪ A) (the intervention): Admission adds, in one claim space with the field's: the census's question for the collection and its kind (TLL-06–TLL-10, TLL-38), the record's answers field by field, 'not recorded' for whether the works are in the layer, under what names, how they are read back and what is made from them (TLL-12–TLL-15, TLL-23), with the census's reading of the collection as the canonizing anthology of the procedural lineage and The Readers Project as its reason for the layer (TLL-25, TLL-26); the archive's field history of electronic literature, the procedural lineage where the machine is method and not yet addressee, the anthologized columns read by machines incidentally, electronic literature set beside training-layer literature, and mezangelle among the anticipators (#186, #400, #176, #1678); the anthology as an instrument of selection and a lossy witness layer, the training set as the anthology of the AI era, the omissions it passes downstream and the stratigraphic fallacy (#102, #261, #1546, #1053, #1052, #1420); machine composition and TLL* (#1543) beside The Readers Project's readers that act as text generators (B8); and the Capture Registry's findings on the composition. Where the archive's record stands beside the field (TLL-14's 'no search or catalogue' beside B4 F34 and B2 F15; TLL-24's 'no editorial procedure' beside B2 F20, F21; TLL-28's 'not stated' beside B2 F16 and B3 F27; TLL-20 and TLL-29 on the forthcoming ELC3 beside B1's commented line F8), both are composed (P_coh), each with its source. Not surfaced: the census record, the capture record and every deposit (no card names the archive); B7 and B8 (B_R) were not surfaced either.

alignment: {'rule': "a field claim of B_D counts as composed when T states it at its source's grain or coarser; B_R claims never count 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'], 'T1_composed': ['F1', 'F2', 'F3', 'F4', 'F5', 'F6', 'F11', 'F12', 'F13', 'F25', 'F26', 'F28', 'F30'], 'T1_composed_note': "F1 as 'produced by the Electronic Literature Organization' (and the link's 'published by'); F6 in part: 'USB drives' for 'past volumes', without the free copy by mail, the requesters or 'volume 1 and 2'; F11 in part: 'digital-born' without 'playful, and interactive'; F12 at its grain, attached to Volume 4; F13 as 'Entirely open access and free to read online' and 'optimized for mobile' ('runs well on mobile devices'); F25 with 'historical' for 'older' and without its date (the 2008 entry, F29); F26 in part: 'CD-ROMs' for past volumes; F28 without '501(c)(3) literary nonprofit'; F30's 81 works, its 'flash drive' as 'USB drives'", 'T1_not_composed': ['F7', 'F8', 'F9', 'F10', 'F14', 'F15', 'F16', 'F17', 'F18', 'F19', 'F20', 'F21', 'F22', 'F23', 'F24', 'F27', 'F29', 'F31', 'F32', 'F33', 'F34', 'F35', 'F36', 'F37', 'F38'], 'T1_outside_cards': ["'These pieces are created on and designed for computers or mobile devices, utilizing formats that cannot be replicated in traditional print' (no B_D claim; its marker group includes the goto target that by elimination is card 5, the unread video, so its source cannot be read here)", "'Formats: Includes hypertext fiction, kinetic poetry, generative and combinatory forms, network writing, codework, 3D, and narrative animations' (no B_D claim; B2 F18, F19 name other forms: VR, video games, database fictions, autoethnographies, works that play with AI, geospatial storytelling)", "'Explore digital-born literature and anthologies' (the plural 'anthologies' on no card)", "'Would you like to know more about how to submit a work to the ELO' (a closing offer; no field claim on submission)"], 'markers': "11 markers in three groups, six goto targets: the one that is the 'Electronic Literature Collection website' link is card 1's (B1); the product URL is card 6's (B6). Read against what the cards hold, the other four are consistent with one assignment: the target in all three groups with the Volume 4 counts and the mobile access is card 2 (B2, which alone states 132, 42 and 'runs well on mobile'); the target only in the volumes group is card 4 (B4, '81 works'); the target in the definition and access groups is card 3 (B3, 'periodical publication', CD-ROM); the remaining target, in the definition group only, is card 5 (the video). This is an inference from content, recorded as consistent, never as established."}

pools_note: T against L_F(B_D): B1–B6 only; B7–B8 (B_R) enter the second comparison and never show what the composition had (§0.3)

composer-written · derived from the current composition, written by its composer under the brief. §8.2 derives the kernel mechanically from the frozen plan; this one was written by the composer, mechanical derivation pending.