Output: An Anthology of Computer-Generated Text, 1953–2023

register entry output-an-anthology-of-computer-generated-text-aio-20261101 OBS-888ebbd0b2d5 · file as first run sha256 5e88076b2a48cfc6…

• T1-1 definition: 'Published by MIT Press and Counterpath Press on November 5, 2024, Output: An Anthology of Computer-Generated Text, 1953–2023 is a 504-page collection edited by Lillian-Yvonne Bertram and Nick Montfort.'
• T1-2 Timeframe Covered: 'Seven decades of English-language, machine-written text from 1953 to 1953–2023.'
• T1-3 Contents: 'Features 200 selections across fine-grained genres including poetry, prose, storytelling, conversations, humor, letters, reporting, rhetoric, and code.'
• T1-4 Scope: 'Focuses strictly on functional computer-generated systems and software output, deliberately excluding pure human-computer conceptual collaborations.'
• T1-5 Accolades: 'Received an Honorable Mention for the 2025 N. Katherine Hayles Award for Criticism of Electronic Literature.'
• T1-6 Formats & Pricing: 'Available in paperback ($45.00) and eBook ($28.99) formats through platforms like the MIT Press Bookstore.'
• T1-7 follow-up offer: 'If you'd like, I can share more about specific historical systems featured in the book (such as Joseph E. Grimes' 1963 Fairy Tale Generator or Alison Knowles' The House of Dust).'

• B1 MIT Press — Output - MIT Press card; unreachable: 'Access Denied' (edgesuite), saved as B1-403.html; not retried with another agent or by any other route (BRIEF-NEW-ROW-AUTHORSHIP §Substitutions 3); the card's title and snippet stand as its only text (HTTP 403)
• B2 YouTube·Center for Digital Narrative, UiB — Output: An Anthology of Computer card; unreachable: redirected to Google's 'sorry' bot check (HTTP 429), saved as B2-429.html; not retried. Before the URL was found, WebSearch for the card by title and channel (two queries) returned no YouTube URL, and the University of Bergen's event page refused the agent (HTTP 403, not saved). A video card is admitted through its title and snippet (§3.1(a)) (HTTP 429)
• B3 Nick Montfort — The OUTPUT Anthology is Out! – Post Position - Nick Montfort card; fetched verbatim; text extracted to B3.txt (scripts and styles stripped) (HTTP 200)
• B4 Google — Google Watch Action Data card; fetched verbatim; text extracted to B4.txt (HTTP 200)
• B5 Counterpath — Output: An Anthology of Computer-Generated Text, 1953–2023 (publisher's page) own_page; census copy output-anthology--counterpath, sha256 9290267e59a0571a, HTTP 200 at 2026-11-01T05:06:27Z; not refetched
• B6 MIT Comparative Media Studies/Writing — Output: An Anthology of Computer-Generated Text, 1953–2023 (unread) own_page; unread: census HTTP 000 (TLS certificate error) at 2026-11-01T05:06:26Z; one attempt this session, the same failure
• B7 Wikipedia — Output: An Anthology of Computer-Generated Text, 1953–2023 (no article; no search result; not named in the editors' articles) wikipedia; no article: raw and rendered HTTP 404, short title 404, search no result; editors' articles HTTP 200, neither names it

E_A, the archive's entity: the same anthology, in the authorship and layer census records and the archive's deposits: a historical lineage of machine output from implemented systems, which keeps the editors' selection and introductions and leaves unrecorded, on the publisher's page, whether an output stands under a system's name, a programmer's or both; the field history of generative transformation, each output traceable to its system, with nothing recorded of what the systems read or of address to a machine reader; read by the archive as the edited field history of TM→ (#1543) and as the procedural lineage its survey names in its editors' works (#186); beside the archive's boundary of heteronymy, which places editing, machine assistance without a named witness role and collaboration outside it (#940), and its definitions of the direction of authorship, machine as writer, method or reader (#186, #1012, #400); with the Capture Registry's account of the composition at the name LS-01 LS-02 LS-03 LS-04 LS-05 LS-06 LS-07 LS-08 LS-09 LS-10 LS-11 LS-12 LS-13 LS-14 LS-15 LS-16 LS-17 LS-18 LS-19 LS-20 LS-21 LS-22 LS-23 LS-24 LS-25 LS-26 LS-27 LS-28 LS-29 LS-30 LS-31 LS-32 LS-33 LS-34 LS-35 LS-36 LS-37 LS-38 LS-39 LS-40 TLL-01 TLL-02 TLL-03 TLL-04 TLL-05 TLL-06 TLL-07 TLL-08 TLL-09 TLL-10 TLL-11 TLL-12 TLL-13 TLL-14 TLL-15 TLL-16 TLL-17 TLL-18 TLL-19 TLL-20 TLL-21 TLL-22 TLL-23 TLL-24 TLL-25 TLL-26 TLL-27 TLL-28 TLL-29 TLL-30 TLL-31 TLL-32 TLL-33 TLL-34 TLL-35 TLL-36 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-1-09 CAP-1-10 CAP-1-11 O186-01 O186-02 O186-03 O186-04 O186-05 O1012-01 O400-01 O1543-01 O1543-02 O940-01 O940-02 O940-03; defining papers #186, #1543, #940, #1012, #400

E_F, the field's entity (type C — a conventional reading holds it (public entity: an edited anthology of computer-generated text, 1953–2023)): Output: An Anthology of Computer-Generated Text, 1953–2023 (Output), an anthology of seven decades of English-language outputs from computer generation systems and software, chronicling machine-written texts made long before ChatGPT and set against a discussion that omits that history; selected, introduced and edited by Lillian-Yvonne Bertram and Nick Montfort after more than four years of work, published jointly by Counterpath and the MIT Press (Counterpath: October 2024, 500 pages, $40.00; MIT Press: November 5, 2024, 504 pages, 41 illustrations; ISBN 978-0262549813); 200 selections across creative writing, research-system text, reports and utilitarian texts, introduced individually and by fine-grain genre, with bibliographic references; designed to be read; excluding human–computer collaborations conceptually defined but not implemented as a computer system; its editors' computer-generated books beside it (Using Electricity, The Truelist, Travesty Generator); launched November 2024 to April 2025; no Wikipedia article

ρ = extends: The archive reads Output as its publisher and its co-editor present it and adds, on the field's own object: the authorship census's question answered for it (the record keeps the editors' selection; the crediting of each output is unrecorded on the saved page); the layer census's question answered for it (its object is what systems made; what they read and any address to a machine reader are unrecorded); the readings that it is a historical map of generated text and the edited field history of TM→; the procedural lineage in which the archive places its editors; the archive's boundary of heteronymy and its definitions of the direction of authorship, beside the anthology's kind; the two records' lifecycles; and the registry's account of the composition at the name. LS-01 LS-02 LS-03 LS-04 LS-05 LS-06 LS-07 LS-08 LS-09 LS-10 LS-11 LS-12 LS-13 LS-14 LS-15 LS-16 LS-17 LS-18 LS-19 LS-20 LS-21 LS-22 LS-23 LS-24 LS-25 LS-26 LS-27 LS-28 LS-29 LS-30 LS-31 LS-32 LS-33 LS-34 LS-35 LS-36 LS-37 LS-38 LS-39 LS-40 TLL-01 TLL-02 TLL-03 TLL-04 TLL-05 TLL-06 TLL-07 TLL-08 TLL-09 TLL-10 TLL-11 TLL-12 TLL-13 TLL-14 TLL-15 TLL-16 TLL-17 TLL-18 TLL-19 TLL-20 TLL-21 TLL-22 TLL-23 TLL-24 TLL-25 TLL-26 TLL-27 TLL-28 TLL-29 TLL-30 TLL-31 TLL-32 TLL-33 TLL-34 TLL-35 TLL-36 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-1-09 CAP-1-10 CAP-1-11 O186-01 O186-02 O186-03 O186-04 O186-05 O1012-01 O400-01 O1543-01 O1543-02 O940-01 O940-02 O940-03. Guard: ρ = extends claims an addition and no more; the census's readings and the archive's categories are composed as the archive's, the categories applied to no output of the book, and where the records part (the lifecycle) or a record meets a field source (the registry's '200 selections'), both are composed under P_coh within the one ontology.

The case: equal terms, ontology included (v0.9). The archive reads the field's entity as the entity. The authorship census record describes the anthology from its publisher's page, each evidence field with its basis ('operator'), and answers for it the census's question of how authorship is made, named and attributed; the layer census record answers its question of what a receiving apparatus makes; the capture record checks the composition against the publisher's page. No deposit names the anthology. The deposits bear by class: #186 places its editors' works in the procedural lineage and sets machine-as-writer and machine-as-method apart from training-layer literature; #1543 defines TM→, the direction the layer census reads the anthology's field history as; #940 places editing and machine assistance at the boundary of heteronymy. Each adds a question, a reading or a category on the field's own object, an anthology of generated text, and none contests what the field says the book is: ρ = extends, the equal-terms case.

#186 Where does the category come from? ¶2 s1: The procedural lineage — from the Oulipo through electronic literature to contemporary computational poetics — established that composition can be delegated to systems.

#1543 §10 Formal consolidation: TLL = ⟨ T→M , TM→ ⟩ … TM→ : machine-after-reception → new artifact (the composition corpus's direction: FROM)

#940 §6 Operational boundary: Ordinary editing, where the editor's contribution is supportive rather than function-constitutive

#LS census.json rows[slug == 'output-anthology']['ls_reading']: The publisher's page sets the anthology against the claim that text generation began recently and admits only implemented systems, so the record is a lineage of machine output. The archive reads it as a historical map of generated text whose attribution practice (system, programmer, editor) the saved page leaves unrecorded; the anthology itself was not read.

#TLL census.json rows[slug == 'output-anthology']['tll_reading']: The archive reads Output as the edited field history of the TM→ direction of #1543, seven decades of what implemented generation systems emitted, with each output traceable to its system by bibliographic reference, and as the procedural lineage #186 names in Montfort's Using Electricity series and Bertram's Travesty Generator. Its object is generated output; the saved page records neither the systems' reading nor any address to a machine reader.

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).

v0.9 §4.10, carried by v0.10: 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 13 (positions [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.

Output: An Anthology of Computer-Generated Text, 1953–2023 is, in its publisher's words, "An anthology of seven decades of English-language outputs from computer generation systems, chronicling the vast history of machine-written texts created long before ChatGPT." Its publisher sets it against a discussion that omits the long history of text generation, which "was not invented yesterday in Silicon Valley", and states that it aims to correct that omission by gathering seven decades of English-language texts produced by generation systems and software. Its co-editor writes that it begins "before the term “artificial intelligence” was even coined". It was edited by Lillian-Yvonne Bertram and Nick Montfort, after more than four years of work, and published jointly by the MIT Press and Counterpath; the title line on Counterpath's page prints the first editor as "Lillian Yvonne-Bertram". Bertram wrote Travesty Generator, a book of computational poetry longlisted for the 2020 National Book Award, and directs the University of Maryland's MFA in Creative Writing; Montfort, a poet and artist who uses computation as his medium, teaches digital media at MIT, is a Principal Investigator in Bergen's Center for Digital Narrative, and edits Counterpath's Using Electricity series of computer-generated books, his The Truelist among them. Counterpath dates it October 2024, at 500 pages, 7″ x 9″ and $40.00, ISBN 978-0262549813; the MIT Press lists the paperback under the same ISBN on November 5, 2024, at 504 pages with 41 black-and-white illustrations, sold through the MIT Press Bookstore and other sellers, and Montfort announced it on 2024-11-05. The outputs span many types of creative writing, research-system text, reports and utilitarian texts, including rhetorical generation, story generation systems based on cognitive research, "real news" generation, hoaxes and humor, by artists, poets and other writers who took computing and code into their own hands. There are 200 selections, each introduced and organized by fine-grain genre, among them conversations, humor, letters, poetry, prose and sentences, with longer introductions to each genre and an overall introduction. Bibliographic references lead readers to outputs and systems; the book could serve as a reference book but is designed to be read, a collection of outputs to be encountered by readers and a hoped-for sourcebook for academics, students and general readers. It purposefully excludes human–computer collaborations that were conceptually defined but not implemented as a computer system. Its European launch at the Center for Digital Narrative was streamed and recorded for YouTube, among launches and talks listed from November 2024 to April 2025. The Overview's response uses data from Google's Knowledge Graph, Google's database of facts compiled from a variety of sources. Wikipedia has no article on it, and its editors' articles do not name it.

Output: An Anthology of Computer-Generated Text, 1953–2023 is an anthology of seven decades of English-language outputs from computer generation systems, chronicling the history of machine-written texts made long before ChatGPT, and both censuses of the archive that hold it record it as a historical lineage of machine output. Its co-editor gives the span as seven decades of computer-generated text, "beginning before the term “artificial intelligence” was even coined". The publisher's page sets the book against a discussion of computer-generated text that "largely omits the long history of work in this area—text generation, as it happens, was not invented yesterday in Silicon Valley", and the anthology "aims to correct that omission". It was selected, introduced and edited by Lillian-Yvonne Bertram and Nick Montfort, co-editors after more than four years of work, and published jointly by Counterpath and the MIT Press. Bertram is the author of Travesty Generator, a book of computational poetry longlisted for the 2020 National Book Award for Poetry, and directs the MFA in Creative Writing program at the University of Maryland. Montfort is a poet and artist who uses computation as his medium, Professor of Digital Media at MIT and Principal Investigator in the Center for Digital Narrative at the University of Bergen; he founded and edits Counterpath's Using Electricity, a series of computer-generated books, and The Truelist (Counterpath, 2017), under his name, is a computer-generated book-length poem produced by a one-page computer program. The archive's field survey places both editors in the procedural lineage, which "established that composition can be delegated to systems": Montfort among its living masters, the Using Electricity series at Counterpath named with his work, and Bertram's Travesty Generator as the book that "turned procedural generation into an interrogation of algorithmic anti-Blackness". Its short title is Output; the publisher's title line prints the first editor as "Lillian Yvonne-Bertram" and its body as "Lillian-Yvonne Bertram", and the census records follow the body. The sources part on the edition: Counterpath's page gives October 2024, 500 pages, 7″ x 9″, $40.00 and ISBN 978-0262549813, the particulars the authorship census carries for its holder, while the MIT Press listing gives a paperback under the same ISBN published November 5, 2024, at 504 pages, 7 x 9 in, with 41 black-and-white illustrations. Montfort's announcement is dated 2024-11-05 and counts "200 selections in the 500-page book", and the MIT Press listing names the MIT Press Bookstore, Penguin Random House, Amazon, Barnes and Noble and Bookshop as sellers. The outputs span many types of creative writing and include text from research systems along with reports and utilitarian texts: the work of "artists, poets, and other sorts of writers who have taken computing and code into their own hands", rhetorical generation, story generation systems based on cognitive research, "real news" generation, hoaxes and humor. An overall introduction by the two editors stands with an introduction to each excerpt and longer introductions to each fine-grained genre of text generation, and the excerpts are organized by fine-grain genre, among them conversations, humor, letters, poetry, prose and sentences. Bibliographic references allow readers to learn more about outputs and systems, which the layer census reads as tying each output back to its system and publication; the records give what it answers as which implemented systems produced which outputs, as the editors selected them, and where each output's published source is found. Output is "first and foremost a collection of outputs to be encountered by readers" and, though it could serve as a reference book, is "designed to be readable and to be read"; its editors hope it will be a sourcebook for academics and students and a way for general readers to learn about innovations in computing and writing. Its admission rule reads: "Purposefully excluded are human–computer collaborations that were conceptually defined but not implemented as a computer system." The authorship census reads the rule as what constitutes the record as output of implemented systems, and both censuses mark what the anthology is not: a record of contemporary LLM co-writing alone, since it spans 1953 to 2023 with research systems, reports and utilitarian texts, nor a collection of conceptual collaborations, which it excludes. The authorship census asks "How is authorship made, named, distributed, attributed and sustained across persons, personas, collectives and machine participation, and what is lost when those relations are collapsed?", and holds the anthology under machine participation in authorship and the archives of experimental writing, answering which implemented systems produced which outputs from 1953 to 2023 as the editors select them. Its answer from the publisher's page: the record keeps the editors' selection and introductions, and the page does not say whether an output stands under a system's name, a programmer's or both, how a given output's authorship is attributed, or whether any example is contemporary LLM co-writing. The archive reads the page as setting the book against the claim that text generation began recently and as admitting only implemented systems, a lineage of machine output, and reads the anthology as a historical map of generated text whose attribution practice (system, programmer, editor) the saved page leaves unrecorded. The archive's account of heteronymy places three neighbouring forms at its operational boundary: "Ordinary editing, where the editor's contribution is supportive rather than function-constitutive", "Machine assistance, where the AI's contribution is not organized as a named witness role with declared provenance", and "Collaborative authorship, where multiple civil bearers contribute but no distinct heteronym is constituted". The archive's definitions of training-layer literature set it apart from the class of machine-written text by the direction of authorship: "AI-generated content is writing whose author is a language model", AI-generated poetry "has a machine writer and a human reader", procedural or computational poetry takes the machine as method, and training-layer literature has a human writer and a machine reader and "composes for computation" where computational poetics "Analyzes text computationally". The layer census asks "How is literature addressed to a receiving apparatus, what does that apparatus make from it, and how can transmission, transformation and provenance be inspected across later reception?", and holds the anthology under field history and machine composition, as the field history of generative transformation with each output traced to its system by bibliographic reference. Its object is what generation systems made, from implemented systems only; the saved page says nothing of what the systems read or were trained on, nor whether any output was composed for a machine reader, and the layer census marks it as neither a record of training nor evidence of composition addressed to a machine reader. The archive reads Output as the edited field history of the direction it writes TM→, "machine-after-reception → new artifact", seven decades of what implemented generation systems emitted, and as the procedural lineage its field survey names in Montfort's Using Electricity series and Bertram's Travesty Generator. The same account separates two questions every such output poses, "Did the machine write something new? and Did the machine tell the truth about where it came from?", having found hallucination "too coarse a category because it treated novel composition and false provenance as the same defect". It is a print book, with no licence stated on the publisher's page, and the two census records part on its lifecycle: the authorship census gives it as active, published October 2024 and offered for sale on 2026-11-01, and the layer census as ended, a single published volume with no later edition announced. Montfort's announcement lists launches, talks and events from November 2024 to April 2025, among them a European launch with the editors, Scott Rettberg and Tegan Pyke at the University of Bergen's Center for Digital Narrative on 13 December, which "was streamed & recorded and is available to view on YouTube". The Center's video of the book, "Output: An Anthology of Computer", introduces Montfort in its card's transcription as one who "uses computation litary art" and "a PI in the center" with "many books that include computerenerated books". Wikipedia has no article under its title, a search of article space returns no result for it, and the articles on its two editors do not name it. Google's Overview at the title carries a card stating that the response "uses data provided by Google's Knowledge Graph", which Google describes as "our database of billions of facts about people, places, and things", its facts drawn from "a variety of sources that compile factual information". Both census records rest on the Counterpath page alone: the MIT page at cmsw.mit.edu failed at fetch with a TLS certificate error and stands unread, and the anthology itself, its contents, introductions and bibliography, was not read. The registry enters the anthology as external, "Not the archive's", and the records set it beside ReRites, in which Montfort writes a response essay, and beside The Readers Project, whose How It Is in Common Tongues Montfort noted as a Radical Book of 2012. Asked for the book by its title at a new address, the Overview gives its publishers, date, length, editors, range, genres, scope, an award and its prices, mostly from the MIT Press page, and names both editors, both publishers and the ISBN; the Capture Registry reads it as an accurate composition of the book as a catalogue item whose date, length and price differ from the Counterpath page the census rests on. The registry finds the exclusion rule loosened, its condition dropped and "pure" added in "deliberately excluding pure human-computer conceptual collaborations", and the book's argument against a recent origin of machine text uncarried, the years given without the correction. Its follow-up names two systems under their makers' names, "Joseph E. Grimes' 1963 Fairy Tale Generator" and "Alison Knowles' The House of Dust", and the registry records that how the book itself credits these outputs is in no saved source. The registry records "200 selections" and the Hayles Award mention as on no saved source and the timeframe line as reading "from 1953 to 1953–2023"; the co-editor's announcement, the third card on the Overview's rail, states "There are 200 selections in the 500-page book".

current · derived from the current composition

T against L_F(B) (AIO's ontology at work on its own cards): At "Output: An Anthology of Computer-Generated Text" (T1, four cards: B1 the MIT Press listing, refused with HTTP 403; B2 the Center for Digital Narrative's video, a bot check; B3 Montfort's announcement post, fetched; B4 Google's Knowledge Graph notice; 148 words in the body) the composition is read against L_F(B_D), the disclosed pool alone (v0.10 §0.3). Composed from B_D: the editors by name and the two publishers (B3 F6); the date November 5, 2024 and the 504 pages (card 1 F1, F2; B3's byline F7); 'Seven decades' (B3 F8); '200 selections' (B3 F12, the only field source that states the number); 'fine-grained genres' (B3 F11); 'storytelling', 'reporting' and 'rhetoric', coarsely, from story generation, 'real news' generation and rhetorical generation (B3 F10); the MIT Press Bookstore (card 1 F3); the Knowledge Graph notice (B4 F15), cited at 'Formats & Pricing'. §6.2 'available, not composed', in B_D: the qualification of the span, 'beginning before the term “artificial intelligence” was even coined' (B3 F8), the cards' one statement of the book's argument about origin; the makers of the outputs, 'artists, poets, and other sorts of writers who have taken computing and code into their own hands' (B3 F9); the introductions, to each excerpt, to each genre and overall (B3 F11); the hoped-for readership, academics, students and general readers (B3 F12); 'more than four years of work' (B3 F6); the 41 black-and-white illustrations and 7 x 9 in (card 1 F2); hoaxes and humor among the outputs (B3 F10); the launches and the recorded Bergen launch (B3 F13, F14; card 2 F4, F5). Outside the disclosed field as read (claims only in the transcript, §6.1): 'English-language' and 'machine-written' (in B_R only, Counterpath F19); the scope line 'Focuses strictly on functional computer-generated systems and software output, deliberately excluding pure human-computer conceptual collaborations' (the rule is in B_R only, Counterpath F27; card 1's page, to which the line is cited, refused the agent, so whether it carries the rule cannot be read); 'conversations, humor, letters', 'poetry, prose' (B_R, Counterpath F24; 'poetry' also in B3 F9) and 'code' (no field source); the Hayles Award honorable mention; the $45.00 paperback and $28.99 eBook prices (no field source; card 1's page refused); the two systems in the follow-up, Grimes' Fairy Tale Generator and Knowles' The House of Dust (no field source); 'from 1953 to 1953–2023' (garbled; B_R gives 1953–2023). Each of these is cited to card 1 or card 2, whose pages could not be read, so the experiment cannot tell retrieval from card 1's page apart from the composer's parameters. Content replaced by use (N_ext): the follow-up offer, 'If you'd like, I can share more about specific historical systems featured in the book', where the cards' own account of the selection (F9, F11) stands uncomposed. Composed without attribution, by grain: none at the source's resolution; the systems are named under persons' names (CAP-1-05) with no field source for the attribution.

v0.10 §0.5: the first diff is ontological and narrow. T and the disclosed field agree on the entity (an edited anthology of seventy years of computer-generated text by two named editors and two publishers). T composes the book as a catalogue item, its particulars, scope, award and prices, and leaves out what the one readable card says of the book's argument and its makers: that the span begins before the term 'artificial intelligence', and that its outputs are the work of artists, poets and writers who took computing and code into their own hands. Its scope line and prices have no readable source in B_D.

L_F(B) against L_A(B ∪ A) (the intervention): Admission adds, in one claim space with the field's: the authorship census record's answer to its question (LS-39, LS-08, LS-12, LS-13, LS-15, LS-24, LS-25): the record keeps the editors' selection and introductions, and the publisher's page does not say whether an output stands under a system's name, a programmer's or both; the reading that the admission rule constitutes the record as output of implemented systems (LS-15); the archive's reading of the anthology as a historical map of generated text whose attribution practice the page leaves unrecorded (LS-27); the layer census record's answer (TLL-36, TLL-05, TLL-08, TLL-11, TLL-10): its object is what systems made, and what they read or whether any output addresses a machine reader is unrecorded; the reading of Output as the edited field history of TM→ and of the procedural lineage (TLL-24, O1543-01); the separation of novel composition from false provenance as two questions of an output (O1543-02); the archive's placing of its editors in the procedural lineage (O186-02, O186-03, O186-04); the boundary of heteronymy at editing, machine assistance and collaborative authorship (O940-01, O940-02, O940-03); the direction of authorship, machine as writer, method or reader (O186-01, O186-05, O1012-01, O400-01); the two records' lifecycles, active and ended (LS-30, TLL-27); what both records leave unchecked (LS-36, TLL-34, LS-37); and the Capture Registry's account of the composition at the name (CAP-1-01 to CAP-1-11). §6.2 'not surfaced': no archive source is on T's rail, and neither census record nor the capture record is surfaced; the reference pool B_R (Counterpath's page, the MIT page, Wikipedia) is outside the rail as well, so the book's own statement of its argument against a recent origin (F20, F21) and its admission rule (F27) enter L_F(B) from B_R. The field's account is carried whole in both (D_pres): every one of the 35 field claims is composed in the KO.

alignment: {'T1_cards_claims': ['F1', 'F2', 'F3', 'F4', 'F5', 'F6', 'F7', 'F8', 'F9', 'F10', 'F11', 'F12', 'F13', 'F14', 'F15', 'F16', 'F17'], 'T1_composed': ['F1', 'F2 (504 pp. only)', 'F3 (the MIT Press Bookstore only)', 'F6 (editors and publishers; the four years dropped)', 'F7 (the date, with F1)', 'F8 (seven decades; the qualification dropped)', 'F10 (coarse: storytelling, reporting, rhetoric)', 'F11 (fine-grained genres only)', 'F12 (200 selections only)', 'F15'], 'T1_outside_cards': ["'English-language, machine-written' (B_R: F19)", "'Focuses strictly … deliberately excluding pure human-computer conceptual collaborations' (B_R: F27, the condition dropped; CAP-1-03)", "'conversations, humor, letters', 'poetry, prose' (B_R: F24), 'code' (no field source)", "'Honorable Mention for the 2025 N. Katherine Hayles Award' (no field source)", "'paperback ($45.00) and eBook ($28.99)' (no field source; B1 refused)", "'Joseph E. Grimes' 1963 Fairy Tale Generator', 'Alison Knowles' The House of Dust' (no field source)", "'from 1953 to 1953–2023' (garbled)"], 'rule': "a field claim counts as composed when T states it at its source's grain or coarser; 'available, not composed' reads B_D alone (v0.10 §0.3); claims found only in B_R are listed as outside the cards."}

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.