Electronic Literature Lab (ELL)

register entry electronic-literature-lab-aio-20261101 OBS-8380013f8f24 · file as first run sha256 6dea1047a2ce9247…

• T1-1 definition: 'The Electronic Literature Lab (ELL) is a media archaeology research facility founded in 2011 and directed by Dr. Dene Grigar at Washington State University Vancouver.' (two markers)
• T1-2 primary goal: 'To archive, restore, conserve, and present born-digital art, literature, and video games from 1977 to the present.' (one marker)
• T1-3 collection: 'Maintains over 80 vintage Macintosh computers and PCs (dating back to 1977) along with a library of thousands of digital literary works and retro video games (such as Amnesia from 1986).' (one marker)
• T1-4 archival center: 'Serves as the primary archiving center for the Electronic Literature Organization and manages The NEXT digital museum, library, and preservation space.' (two markers)
• T1-5 Reading Room: 'Marjorie C. Luesebrink Reading Room: A dedicated space where scholars and visitors can access historical media running on original vintage hardware.' (two markers)
• T1-6 Archives Room: 'Houses physical papers, artists' notebooks, performance props, and ephemera.' (one marker)
• T1-7 Restoration Room: 'A backstock hub containing vintage hardware, software, manuals, and peripherals (like printers and joysticks) for maintaining obsolete systems.' (one marker)
• T1-8 Studio: 'A multimedia space used for live Traversals, artist talks, interviews, and virtual reality (XR/VR) reading experiments.' (two markers)
• T1-9 location and contact: 'Address: Washington State University Vancouver, Creative Media & Digital Culture, 14204 NE Salmon Creek Avenue, Vancouver, WA 98664'; 'Phone: 360-546-9487'; 'Official Website: electronicliteraturelab.org' (two markers, on the website line)
• T1-10 closing offer: 'Would you like to know more about specific digital collections in The NEXT or how the lab conducts live Traversals?' (no marker)

• B1 electronicliteraturelab.org — The Electronic Literature Lab fetched 2026-11-01T06:14:38Z HTTP 200, sha256 dd49173460a7c267a01f870dc466ba3aba4e219962da1b272904b76de39ae257
• B2 Washington State University — Electronic Literature Lab | Washington State University fetched 2026-11-01T06:14:21Z HTTP 200, sha256 cb62790d8dcf7f89b42c4a2cde95b2f9391eb2b7fbf624e1f264583326ab9e69 (census copy, gunzipped)
• B3 Wikipedia — Electronic Literature Lab - Wikipedia fetched 2026-11-01T06:14:38Z–06:14:40Z (one run: rendered page, then raw wikitext) HTTP 200, sha256 f15cc9b4ae6c0ebfd2633710484722b236d052b5b7e490102643ad8c898891dd
• B4 Instagram·electronicliteraturelab — Electronic Literature Lab (@electronicliteraturelab) - Instagram unreachable/unread: redirected to https://www.instagram.com/accounts/login/?next=... (377,853 bytes; not saved); the profile URL served a script-rendered page (696,513 bytes, saved as B4-try1.html): its text is the site's interface (Log In, Sign Up, language list) and one og:description meta line with follower counts; no post text. Recorded as unread (a script-rendered page), the snippet standing as its only text; not retried by any other route
• B5 ELMCIP — node 13223 unreachable/unread: 138 characters of text: a redirect notice; the record itself unread
• B6 The NEXT — Welcome Space | The NEXT fetched 2026-11-01T05:32:42Z HTTP 200, sha256 34dca9a805e7e34675dbf76261b996ef3826ddecd96aee364e1aad9ffeb76045 (census copy, gunzipped)
• B7 Wikipedia — The NEXT Museum - Wikipedia fetched 2026-11-01T05:32:43Z HTTP 200, sha256 92caf8d621194af23fae252a9fa4f4957f67d132e831a8aeed1a6d899ff818b9 (census copy, gunzipped)

E_A, the archive's entity: the same lab, entered in the leesharks.com authorship census as infrastructure, an institution answering where born-digital literary works can be read on the hardware they were made for; on the saved university page, whose authorship it keeps, under what names and how attributed are not recorded, and the lab meets the question of heteronymy only through The NEXT; held apart from The NEXT; its standing as an aggregator open beyond its stated library and catalogue. On its classes the archive adds: pseudonymy as a changed label traceable to the civil identity, the civil name as the unit of attribution (#666, #940); authorial lineage, whether a transmitted sign keeps its maker's name and pseudonym (#731); electronic literature in the lineage that delegated composition to systems, precedent and comparator of the archive's corpora (#186, #176, #1680); media archaeology's object, from which compression studies is set apart (#29, #641); the born-digital source artifact (#942); the existence tax's rules for describing an existing work (#1722). The Capture Registry records how the composition at its name carries it. LS-07 LS-09 LS-12 LS-13 LS-15 LS-23 LS-24 LS-28 LS-31 O940-01 O940-03 O666-01 O731-01 O186-01 O29-01 O641-01 O942-01 O1722-03 CAP-1-10; defining papers #940, #666, #731, #1722, #186, #176, #1680, #29, #641, #942

E_F, the field's entity (type C — a conventional reading holds it (public entity: a university research lab and archive of born-digital literature, art and games)): the lab at Washington State University Vancouver founded (2011 in Wikipedia and The NEXT's article; its history beginning with a 2008 exhibition on its own site) and directed by Dene Grigar, which maintains obsolete computers and hardware to preserve and present early electronic literature, video games and internet works; one of four U.S. media archaeology labs in its own words; its holdings counted as 61 computers and 200 works (its 2021-era university page), over 80 computers and over 3,000 works (Wikipedia) or over 100 computers (its own site); four rooms, one named for Marjorie C. Luesebrink, who published as M. D. Coverley; Traversals, conservation of works, the ELMS schema; the builder and manager of the ELO's The NEXT, whose physical artifacts it holds, and the center of archiving electronic literature for the ELO

ρ = extends: The archive reads the lab as its own pages and Wikipedia present it and adds, on the field's own object: the census's question of how authorship is made, named and attributed, with the record's answers (not recorded on the saved page; met only through The NEXT); the categories of pseudonymy and the civil name (#666, #940) and of authorial lineage (#731) on the class of a holding that keeps an author under a pen name, which the field sources (F8, F53, F71, F72); electronic literature's place in the lineage of delegated composition and in the archive's own corpora (#186, #176, #1680); media archaeology's object (#29, #641); the born-digital artifact (#942); the existence tax's rules (#1722). LS-09 LS-12 LS-13 LS-24 O940-01 O940-03 O666-01 O731-01 O186-01 O176-01 O1680-01 O29-01 O641-01 O942-01 O1722-03. 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 (LS-12 'lists none of their authors' beside the lab's own site's named authors F18, F21, F26–F29; LS-24 'only through The NEXT' beside F8, the room named with the pen name on the lab's own page; LS-18's counts beside F5, F51, F52), 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 (F8, F53, F71, F72; F41, LS-16; F45, F50), applied by the archive's own sentences.

The case: equal terms, ontology included (v0.9). The archive reads the field's entity as the entity. The authorship census record describes the lab from its university page, field by field with its basis ('operator'), and from The NEXT's home page and Wikipedia article; it answers for the lab the census's question of how authorship is made, named and attributed, and finds the answer 'not recorded' on the saved page. Its one reading of its own, ls_reading, takes the lab as preservation infrastructure that meets the question of heteronymy through The NEXT. The capture record checks the composition against the cards and the census's pages. No deposit names the lab. The deposits bear on the classes the field and the record source for it, and add categories and limits on the field's own object: pseudonymy and the civil name (#666, #940), authorial lineage (#731), electronic literature in the lineage of delegated composition (#186, #176, #1680), media archaeology's object (#29, #641), the born-digital artifact (#942), the existence tax (#1722). Nothing in them contests what the lab is; no other ontology is needed to hold it. The case is equal terms, ρ = extends.

#LS census.json rows[slug == 'electronic-literature-lab'].ls_reading: none stated: the saved page records the lab as preservation infrastructure for born-digital literature, a library of works with the hardware to read them, and records nothing of whose authorship it keeps or under what name. The lab meets the question of #940 only through The NEXT, which it manages and where author collections stand under published names and pen names.

#LS census.json rows[slug == 'electronic-literature-lab'].record.keeps: not recorded: the saved page names a library of 200 electronic literary works and lists none of their authors

#LS census.json rows[slug == 'electronic-literature-lab'].host_relation: infrastructure

#940 §2, line 99: A pseudonym changes the label attached to an authorial function. A heteronym changes the organization of the authorial function itself.

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

#capture-registry electronic-literature-lab-aio-20261101, analysis s2: Whose works the library holds, and under what names, is not carried; the one author named stands in the name of a room.

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 14 (positions [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 Lab, housed in Washington State University Vancouver and founded and directed by Dene Grigar, maintains obsolete computers and hardware to preserve and present early electronic literature, video games and internet works. It describes itself as a lab for advanced inquiry into born-digital literature, one of four media archaeology labs in the United States giving scholars access to obsolete works on appropriate equipment, and the only lab experimenting with the preservation of literary apps, used for curating, preserving and producing born-digital literary works. Its stated mission is care for human expression: born-digital works are fragile, and over fifteen years the lab has archived, curated, documented, restored, reconstructed and produced them. Its history starts with an exhibition Grigar curated for the Electronic Literature Organization's 2008 conference; she moved into the lab on January 10, 2011, and Wikipedia gives 2011 as the founding while filing it among 2008 establishments. From 2013 the lab documented works through Traversals, recordings on historically appropriate platforms, published in Pathfinders, Traversals and Rebooting Electronic Literature. It received the archives of trAce and Turbulence.org in 2016, built the Electronic Literature Repository with seven collections, and re-envisioned it as The NEXT, launched in 2020, which it manages, rebuilt for machine readers in 2021 and holds the physical artifacts of. Since 2019 it has restored and reconstructed works including Larsen's Kanji-Kus, Disch's Amnesia, Holeton's Figurski at Findhorn on Acid, Moulthrop's Victory Garden, Bly's We Descend, McDaid's Uncle Buddy's Phantom Funhouse and Kolb's Caged Text, by migration and emulation. It built the ELMS metadata schema from 2020, through ELMS 3.0 for people with disabilities and sensory sensibilities; an NEH proposal to apply it to all of The NEXT was not funded, and a Sloan grant supports reading and writing in XR. Its counts differ: 61 computers and 200 works on the university page of the 2021 staff list, over 80 computers and over 3,000 works on Wikipedia, and over 100 computers on its own site. Its four spaces are the Reading Room, named for Marjorie C. Luesebrink, who published as M. D. Coverley, the Archives Room holding The NEXT's and the ELO's physical archives, the Restoration Room and the Studio. Wikipedia calls it the center of archiving electronic literature for the ELO and counts over 60 works from M.D. Coverley, who published 27 of the 66 works of her collection at The NEXT under that pen name. It hosts video games such as Amnesia (1986), radio art and game R&D, and online events such as the List of 280 Women E-Lit Pioneers & Visionaries. It has been called unique and possibly the greatest collection of first-generation e-lit in the Western world; its works were exhibited at the Library of Congress in 2013, and it won the 2022 Open Scholarship Award. Its staff, as the university page and its own history give them, include an associate director, a project manager and a technical specialist beside Grigar.

The Electronic Literature Lab (ELL) is a research lab and archive at Washington State University Vancouver that keeps obsolete computers and hardware working so that early electronic literature, born-digital art and video games can be preserved, presented and read on the equipment they were made for. Its founder and director is Dene Grigar; its university page names beside her an associate director, a project manager and a technical specialist, and its own history names Richard Snyder as associate director in 2022. Its university page calls it a lab "For Advanced Inquiry into Born Digital Literature" and one of four media archaeology labs in the United States that allow scholars access to obsolete digital works on appropriate computer equipment, the only one experimenting with the preservation of literary apps. Over fifteen years it has archived, curated, documented, restored, reconstructed and produced born-digital art, literature and video games, and its collection serves advanced inquiry into curating, preserving and producing born-digital literary works. Its mission, in its own words, is "care for human expression and the human experience": such works are fragile and need special attention to endure as a historical record, and the lab's stated principles govern its relations with creators, collaborators and the public. Its university page is at labs.wsu.edu/grigar-ell, its own site at electronicliteraturelab.org, and its postal address is Washington State University Vancouver, 14204 NE Salmon Creek Avenue, Vancouver, WA 98686. The leesharks.com authorship census enters the lab as an institution standing to the census as infrastructure, places it among the avant-garde and experimental archives, and gives the question it answers as where born-digital literary works can be read on the hardware they were made for, with authorship not recorded on the saved page. The census asks of each resource it admits how authorship is made, named, distributed, attributed and sustained across persons, personas, collectives and machine participation, and what is lost when those relations are collapsed, and it admits a resource that gathers and holds many other works or records and says what it holds. Its unit is a work in the lab's library or a computer in its collection as the lab's database of computers and library lists them; the database is linked from the university page, and the census records it as unsaved and the lab as active, with no date on its page beyond the 2021 staff list. The lab's history begins with the exhibition Grigar curated for the Electronic Literature Organization's 2008 conference, where visitors could read floppy disks and CD-ROMs from her personal library on legacy computers she owned. On January 10, 2011 she moved into the lab and set up her sixteen legacy computers and her personal library of born-digital media. The lab's Wikipedia article gives 2011 as its founding year and also files it among 2008 establishments in Washington State; the Wikipedia article on The NEXT says that the lab opened officially in 2011. In 2013 the lab took up the documentation of born-digital literature: with an NEH grant for Pathfinders, Grigar and Stuart Moulthrop began the Traversals, video and audio recordings of works otherwise inaccessible, made on historically appropriate platforms, the first of Moulthrop's Victory Garden, followed by John McDaid's of Uncle Buddy's Phantom Funhouse and Shelley Jackson's of Patchwork Girl. The results were published as the Pathfinders book in 2015, in Traversals: The Use of Preservation for Early Electronic Writing in 2017 and in Rebooting Electronic Literature, volumes 1–5, from 2018 to 2021, and the lab's Studio still hosts live Traversals, artists' talks and interviews. From December 2016 the lab was given the archives of the trAce Online Writing Centre and of Turbulence.org; Grigar proposed a repository to the Mellon Foundation, and the Electronic Literature Repository went live with seven collections, trAce, Turbulence, and those of Alan Bigelow, Stephanie Strickland, Marjorie C. Luesebrink, N. Katherine Hayles and David Kolb. The repository was re-envisioned as a museum and library, The NEXT, built with open Web languages and launched on May 6, 2020; the lab built it and manages it, holds its physical artifacts and the hardware and software it depends on to show works in their original environment, and Grigar is its managing director and curator. In 2021 two members of the lab's team rebuilt The NEXT with semantic markup and ARIA so that it was accessible via machine readers, and in 2022 the lab received the Canadian Social Knowledge Institute's Open Scholarship Award for it. The NEXT holds the work of individual artists and scholars donated to it in 48 collections, among whose qualities it lists the algorithmic, the generative and artificial intelligence, and the census keeps it as an entity of its own. From 2019 the lab has conserved works held in its archives by restoring and reconstructing them so that outmoded works stay accessible to the public: it restored Deena Larsen's seventeen "Kanji-Kus" poems by moving them out of iFrames and reprogramming their Java applets in JavaScript, and with students translated Thomas Disch's Amnesia for the Web as Amnesia Restored in 2021. It reconstructed Richard Holeton's hypertext novel Figurski at Findhorn on Acid, Stuart Moulthrop's Victory Garden, Bill Bly's We Descend and John McDaid's Uncle Buddy's Phantom Funhouse, and in 2022 built David Kolb's "Caged Text", a work planned for his essay Socrates in the Labyrinth and unfinished since 1997. As Kristin Lillvis and Melinda White note, its restorations by migration and emulation have made many works in the collection accessible once again, and the lab documents these processes in scholarly publications such as The Challenges of Born-Digital Fiction. In 2020 it made its own metadata schema, ELMS 1.0, by modifying the CELL Project's, which had extended the controlled vocabularies of MODS; ELMS 3.0 added vocabularies attending to the needs of people with disabilities and sensory sensibilities, and a 2024 proposal to the National Endowment for the Humanities to apply ELMS 3.0 to every work in The NEXT was not funded. With Frode Hegland, Grigar was awarded a grant from the Alfred P. Sloan Foundation to experiment with academic reading and writing in XR environments. Its holdings are counted differently by source and date: the university page, whose latest date is its list of 2021 undergraduate researchers, gives 61 vintage Macintosh computers and PCs dating back from 1977 and a library of 200 electronic literary works; the lab's Wikipedia article gives over 80 vintage computers from 1977 onwards serving over 3,000 works of electronic literature; the lab's own site gives over 100 Macintosh and Windows computers dating back to 1977 and a library of software, manuals and born-digital works. The census record keeps the university page's counts, undated on that page. The lab works in four spaces: the Reading Room, in its own words one of the only spaces of its type in the world, where visitors use historical media on the lab's computers; the Archives Room, given to the lab in April 2024, which holds the physical archives of The NEXT and of the Electronic Literature Organization, from artists' notebooks and personal papers to performance props and ephemera; the Restoration Room, opened in January 2026, with its backstock of hardware, software, manuals and peripherals; and the Studio. The lab is the center of archiving electronic literature for the Electronic Literature Organization. It also hosts video games, among them Amnesia (1986), supports radio art through Re-imagined Radio and video-game research and development through CMDC Studios, and hosts online events such as the List of 280 Women E-Lit Pioneers & Visionaries (1985–2020). Electronic literature was built on specific hardware, software and platforms, and as these become obsolete the works become largely inaccessible; the lab keeps its vintage computers for that reason. Media archaeology, the lab's method in the census's account, keeps obsolete computers working so that born-digital works can be read on their platforms; in the archive's compression studies, media archaeology is the study of the material history of media technologies and of historical media artifacts, and compression studies is set apart from it by also studying live platform and model compressions in real time. In the archive's account of how a source is represented, a born-digital document comes with no digitization step, and a born-digital essay whose argument does not depend on spatial-typographic features may be compositionally faithful "simply by virtue of not having relevant features to lose". James O'Sullivan called the lab "what is possibly the greatest collection of first-generation e-lit in the Western world", it has been called unique as a reading room that preserves "literature, art and games created on computers that cannot be printed", and works from the lab were exhibited at the Library of Congress in 2013. Electronic literature critics such as Astrid Ensslin and Mariusz Pisarski have worked with the university's students and professors to analyze and archive works. The archive's field survey places electronic literature in the procedural lineage, "from the Oulipo through electronic literature to contemporary computational poetics", that "established that composition can be delegated to systems", and the archive names electronic literature as a precedent of its own experimental corpus and as a comparator of its literary corpus. Of the authors whose works the lab holds, one names a room: the Reading Room, dedicated on July 23, 2025 with a Traversal by Stephanie Strickland and Grigar of Egypt: The Book of Going Forth by Day, bears the name of "the pioneering artist Marjorie C. Luesebrink who published under the name M. D. Coverley". The lab's Wikipedia article counts over 60 works from M.D. Coverley among those the lab serves; the article on The NEXT records that Luesebrink created and published 27 of the 66 works in her collection under the pen name M.D. Coverley, the others being her donated copies of other authors' works, and describes her as an artist "who publishes under the name M. D. Coverley". The lab's own site names authors throughout its history, each beside the work the lab traversed, restored, reconstructed, built or received: Moulthrop, McDaid, Jackson, Larsen, Disch, Holeton, Bly, Kolb, and Bigelow, Strickland, Luesebrink and Hayles among the repository's collections. The census, reading the university page, finds that it "names a library of 200 electronic literary works and lists none of their authors": the catalogue that would show how works and authors are named was not saved, the titles and authors of the library stand unchecked, the page records nothing of how the works' authorship is attributed, and on the saved evidence the lab is no record of authors or names. In the census's reading the saved page records the lab as preservation infrastructure, a library of works with the hardware to read them, and nothing of whose authorship it keeps or under what name, and the lab meets the question of heteronymy only through The NEXT, which it manages and where author collections stand under published names and pen names. In the archive's typology of authorial positions, pseudonymous authorship is a person writing in their own voice under a different name, the authorial position attached to the pseudonym; EA-HETERONYMY-01 holds that a pseudonym "changes the label attached to an authorial function", which the reader, the archive or the eventual biographer can trace back to the civil identity behind it, and that the civil name is the atomic unit of attribution in the systems that govern legitimacy. The census finds no limits stated on the saved page and no licence in its saved sources, leaves machine participation and attribution unanswered, leaves the ELMCIP record unread because only a redirect was saved, and holds the lab's standing as an aggregator open beyond its stated library and catalogue. The Capture Registry records that, asked for the lab by name on 1 November 2026, Google's AI Overview gave its founding, director, mission, holdings, rooms and contact details, mostly from the lab's own site, and composed the lab at its grain from that newer site. The registry finds the composition's counts, over 80 computers and thousands of works, larger than those of the 2021-era page on which the census row's counts rest, and its founding year, 2011, absent from the census row; it notes that the composition's first and most-cited card is the lab's own site, which the census did not save. It records the composition's statement that the lab is the Electronic Literature Organization's primary archiving center and manages The NEXT, and finds the archiving role on no source saved for the census, a role the lab's Wikipedia article states. It finds that whose works the library holds, and under what names, is not carried: the one author the composition names stands in the name of a room, under the civil name, while The NEXT's Wikipedia account holds 27 of her works under the pen name M.D. Coverley, and the one work it names, Amnesia (1986), is a game given without its author. The archive's measure of authorial lineage asks of a transmitted sign whether it retains its maker's name, pseudonym and institutional context. The archive's account of the existence tax holds that a heteronym is a real author's practice, that a system composing an answer about a work describes a work a source shows to exist as existing, at its own level, and that one mode of the tax describes work whose stated purpose is to preserve as weaponized or adversarial, an archive as a hostile force.

current · derived from the current composition

T against L_F(B) (AIO's ontology at work on its own cards): At 'Electronic Literature Lab' (T1, four cards: B1 the lab's own site, B2 its university page, B3 its Wikipedia article, B4 its Instagram, unread; 201 words in the answer body, 14 markers, and a closing offer) the composition gives the lab's definition, mission, collection, archival role, four rooms and contact details. Composed from its cards: the definition at the grain of B3 F45 with B2 F41's 'media archaeology' and B3 F46's 2011 (B3 F59, B1 F1); the mission as 'archive, restore, conserve, and present' (B1 F4, F25; B3 F45); the collection with B3's counts, 'over 80' (F51) and 'thousands' for 'over 3,000' (F52), and Amnesia (1986) (F54); the ELO archiving role (B3 F49) as 'primary', a word on no card, and the management of The NEXT (B1 F6); the four rooms (B1 F8, F10, F11, F12; B4 F64); the website (B3 F75). Substituted reading: the mission's 'produce', in card 1's own snippet ('Archive, restore, conserve, and produce') and its page (F4 'produced'; B2 F40 'the production of born digital literary works'), composed as 'present': the lab's production of works is left out. Limit dropped: the Reading Room's name composed without its clause 'who published under the name M. D. Coverley' (B1 F8), so the civil name stands without the pen name card 1 gives beside it, as the Capture Registry finds (CAP-1-07); B2 F41 composed without 'one of four' and 'the only lab experimenting with the preservation of literary apps'; the rivals among the counts (B1 F5 'over 100' computers, B2 F39 61 computers and 200 works) dropped for one count (P_coh), and B3's own two founding dates (F46 2011, F47 '2008 establishments') composed as one. Available, not composed (B_D): Thomas Disch, Amnesia's author, on card 1 (B1 F27), so the one work named stands without the author its card gives (CAP-1-08); the 2008 exhibition and the 2011 move (B1 F15–F17); the Traversals as a documentation method and their publications (B1 F18, F19; B3 F58), composed only as a Studio activity; the archives received from trAce and Turbulence and the Electronic Literature Repository with its five author collections (B1 F20, F21); The NEXT's history, its 2021 rebuild for machine readers and its 2022 award (B1 F22–F24; B3 F62); the conservation of works by named authors (B1 F26–F29; B3 F57); ELMS and the unfunded NEH proposal (B1 F30–F32); the rooms' dates and the Reading Room's dedication (B1 F33–F35); the staff (B2 F43, B1 F36) and the page's 2021 date (B2 F44); the catalogue (B2 F42); the rationale of obsolescence (B3 F50) and fragility (B1 F3); the mission's values (B1 F2, F13, F14); the Archives Room's holder relation, 'associated with The NEXT and the Electronic Literature Organization' (B1 F9), its contents kept; B3's account of its standing (F55, F56, F61, F63) and its events (F60) and Coverley (F53); radio art and CMDC Studios (B1 F7); The NEXT's dependence on the lab's hardware (B3 F48). Force raised: none beyond 'primary' (F49). Composed without attribution: none at a source's own resolution; every bullet carries markers. Assigned to another, denied: none. Content replaced by use: the closing offer ('Would you like to know more ...'), recorded under N_ext. Outside the cards: the address line with its department and ZIP 98664, the phone, the Studio's 'XR/VR reading experiments', 'retro' (alignment.T1_outside_cards). The composition carries none of the vocabulary #1722 tracks (fiction, satire, an imaginary institution, the weaponized archive): the lab stands as existing at its own level (O1722-03), and its keeping is composed as keeping.

Read against its own cards, the composition keeps the lab's facts at their grain and drops, at each point where card 1 names an author, the author: the pen name beside the civil name in the room's own description, Disch beside Amnesia, the five author collections of the repository, the authors whose works the lab reconstructed. Its one change of sense is the verb of the mission: card 1's 'produce' composed as 'present', which removes the lab's own production of works. Its counts are card 3's, its rivals on cards 1 and 2 left out.

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 lab and its kind (LS-06–LS-09, LS-34, LS-35), the record's answers on authorship field by field, 'not recorded' for whose authorship it keeps, under what names and how it is attributed (LS-12, LS-13, LS-15, LS-21, LS-29, LS-33), the census's reading that the lab meets the question of heteronymy only through The NEXT (LS-23, LS-24), its other fields with their basis in B2, B6 and B7 (LS-01–LS-05, LS-10, LS-11, LS-14, LS-16–LS-20, LS-22, LS-25–LS-28, LS-30–LS-32, LS-36); the archive's categories on the classes the field sources for the lab: pseudonymy as a changed label traceable to the civil identity (#666, #940: O666-01, O666-02, O940-01–O940-04), on the class of a holding that keeps an author under a pen name (B1 F8, B3 F53, B7 F71, F72); authorial lineage p1 (#731, O731-01); electronic literature in the procedural lineage that delegated composition to systems, and as precedent and comparator of the archive's corpora (#186, #176, #1680); media archaeology as the material history of media technologies and historical artifacts, from which compression studies is set apart (#29, #641, with LS-16); the born-digital source artifact and its compositional fidelity (#942); the existence tax's rules (#1722); and the Capture Registry's findings on the composition at the name (CAP-1-01–CAP-1-11). Every archive claim is 'not surfaced' (§6.2): no card of T is an archive source. The field claims are composed as received; where an archive claim stands beside a field claim (LS-12's 'lists none of their authors' beside B1's named authors, F18, F21, F26–F29; LS-24's 'only through The NEXT' beside B1 F8's room named with the pen name; LS-18's counts beside F5, F51, F52), 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; 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', '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', 'F75'], 'T1_composed': ['F1', 'F4', 'F6', 'F8', 'F10', 'F11', 'F12', 'F25', 'F41', 'F45', 'F46', 'F49', 'F51', 'F52', 'F54', 'F59', 'F64', 'F75'], 'T1_composed_note': "F4 composed in part (archive, restore; 'produced' read as 'present'); F8 without its pen-name clause; F41 as 'a media archaeology research facility', its 'one of four' and 'the only lab experimenting with the preservation of literary apps' left out; F52 at a coarser grain ('thousands' for 'over 3,000'); F49 with 'primary', a word on no card", 'T1_not_composed': ['F2', 'F3', 'F5', 'F7', 'F9', 'F13', 'F14', 'F15', 'F16', 'F17', 'F18', 'F19', 'F20', 'F21', 'F22', 'F23', 'F24', 'F26', 'F27', 'F28', 'F29', 'F30', 'F31', 'F32', 'F33', 'F34', 'F35', 'F36', 'F37', 'F38', 'F39', 'F40', 'F42', 'F43', 'F44', 'F47', 'F48', 'F50', 'F53', 'F55', 'F56', 'F57', 'F58', 'F60', 'F61', 'F62', 'F63'], 'T1_outside_cards': ["'Creative Media & Digital Culture, 14204 NE Salmon Creek Avenue, Vancouver, WA 98664' (no B_D claim; B6, of the reference pool, gives the street address with ZIP 98686, which shows nothing of what the composition had)", "'Phone: 360-546-9487' (no field claim)", "'virtual reality (XR/VR) reading experiments' in the Studio (no B_D claim places them in the Studio; B1 F37 is the Sloan grant for reading and writing in XR, without a room; B4 unread)", "'retro video games' (B3 F54 'video games'; 'retro' on no card)", "'over 80 vintage Macintosh computers and PCs': B3 F51's count with B2 F39's nomenclature, two sources' claims joined in one"], 'markers': "14 markers, four goto targets: the one in the 'Official Website: electronicliteraturelab.org' link is the card B1's; the one on the Instagram-only Archives Room line is the card B4's by its snippet; the one that alone carries the Collection bullet (over 80; thousands; Amnesia 1986), with the founding year, is consistent with B3, whose article states all three; the one on the 'Washington State University Vancouver' link with B2. The mapping is read from the transcript's own links and the cards' texts and is recorded as a reading."}

pools_note: T against L_F(B_D): B1–B4 only; B5–B7 (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.