PennSound

register entry pennsound-aio-20261101 OBS-f07a679cb7c8 · file as first run sha256 8f5d798229121cce…

• T1-1 definition: 'PennSound is the world's largest free digital archive of poetry audio, featuring over 50,000 recordings spanning from 1913 to the present.'
• T1-2 Host & Location: 'Based at the University of Pennsylvania's Center for Programs in Contemporary Writing (CPCW) and associated with the Kelly Writers House.'
• T1-3 Directors: 'Co-directed by Al Filreis, Charles Bernstein, and Chris Mustazza.'
• T1-4 Format: 'Emphasizes individual poem "singles" rather than just full-length readings, making files easy to stream and download as MP3s for free.'
• T1-5 Scope: 'Includes early canonical and modernist voices (such as William Carlos Williams, Wallace Stevens, Gertrude Stein, and T.S. Eliot) alongside contemporary, experimental, and international poets.'
• T1-6 Author Pages: 'Extensive, individual catalogs for thousands of writers, including recent additions like the Charles Ruas Author Page featuring historical radio interviews.'
• T1-7 PennSound Podcasts: 'Regular audio programming produced at the Kelly Writers House, including series like PennSound Rewind hosted by Michael Hennessey.'
• T1-8 PoemTalk: 'A co-produced podcast series (with Jacket2) featuring roundtable discussions on individual poems from the archive.'
• T1-9 Archive Access: 'All audio files are open-access and noncommercial.'
• T1-10 closer: 'Would you like help finding recordings of a specific poet, or are you looking for information on how to browse a particular series on the site?'

• B1 Center for Programs in Contemporary Writing — PennSound card; B1.html sha256 2ddc53a3b55b38b5, HTTP 200 at 2026-11-01T06:15:56Z; this session's fetch is byte-identical to the census copy (sha256 2ddc53a3…); B1.txt is the census's extracted text
• B2 Jacket2 — PennSound podcasts - Jacket2 card; B2.html sha256 daae082a9ed179de, HTTP 200 at 2026-11-01T06:15:57Z
• B3 Wikipedia — PennSound - Wikipedia card; B3.html sha256 8a84db9a5b600dcf, HTTP 200 at 2026-11-01T06:16:02Z; this session's rendered fetch differs in bytes from the census copy (62bae6f4…, fetched 2026-11-01T04:07:50Z) and its extracted text matches the census text in every article sentence ledgered here; raw wikitext saved as B3.wiki
• B4 YouTube — PennSound - YouTube card; B4.html sha256 7d4344c3bebad33f, HTTP 200 at 2026-11-01T06:16:00Z
• B5 poets.org | Academy of American Poets — PennSound | Academy of American Poets card; B5.html sha256 6780a64b5a401b56, HTTP 200 at 2026-11-01T06:15:59Z
• B6 Penn Today — PennSound: All the Free Poetry You Care to Download | Penn Today unreachable: HTTP 403 at 2026-11-01T06:15:59Z, one request with the census's agent; the response is a Cloudflare challenge page ('Just a moment...'); not retried with another agent or by any other route (the brief
• B7 X — PennSound - X card; B7.html sha256 23be1182e7e882ef, HTTP 200 at 2026-11-01T06:16:01Z
• B8 Instagram — PennSound (@pennsound) • Instagram photos and videos unreachable: HTTP 200 at 2026-11-01T06:16:02Z after a redirect to https://www.instagram.com/accounts/login/ (a login wall); the saved page carries only Instagram's own description; not retried by any other route.
• B9 ModPo — Category: PennSound - ModPo card; B9.html sha256 cfb95ace7178db2e, HTTP 200 at 2026-11-01T06:16:00Z
• B10 YouTube·PennSound — YouTube (video, 51:52) unreachable: no title to search by; the rail gives the channel (YouTube·PennSound), the length (51:52) and the title 'YouTube'; not found. Admitted through the rail's text.
• B11 YouTube·The Brainwaves Video Anthology — Charles Bernstein - PennSound (video, 1m) unreachable: WebSearch on the title and the channel ('Brainwaves Video Anthology "Charles Bernstein" PennSound youtube') returned PennSound's own Bernstein pages and no video page; not fetched. Admitted through title.
• B12 YouTube·Jerry Inspired — YouTube (video, 54:21) unreachable: no title to search by; the rail gives the channel (YouTube·Jerry Inspired), the length (54:21) and the title 'YouTube'; not found. Admitted through the rail's text.
• B14 Center for Programs in Contemporary Writing — CPCW home page (named in T's body by the link 'Kelly Writers House') body-named link; B14.html sha256 ac4914f219dba3e9, HTTP 200 at 2026-11-01T06:31:13Z
• B13 PennSound — About PennSound (about.php) own page; copied from the census's saved copy pennsound--about (sha256 9164d92b56f8e207, read 2026-11-01)

E_A, the archive's entity: the same archive, in the leesharks.com authorship census record and the archive's deposits: an empirical comparator of the census in the areas of avant-garde archives and of attribution and credit, which keeps poets' readings of their own and of others' work with the performer named beside the author and co-composers credited, holds them under the poet's name on author pages and under series names, states no policy on pseudonyms, heteronyms or collective names and no rights per recording in the census's sources; read by the archive as a witness of a distinct type whose separate attributions let a reading of one poet's work by another collapse into neither; the civil name the atomic unit of attribution (#940 §1); pseudonym and heteronym distinguished (#940 §2); translation, performance and collaborative authorship outside heteronymy (#940 §6); the collapse of plural functions registering as loss (#940 §2) 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 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 O940-01 O940-02 O940-03 O940-04; defining papers #940

E_F, the field's entity (type C — a conventional reading holds it (public entity: a university-hosted archive of poetry audio recordings)): PennSound (writing.upenn.edu/pennsound), an ongoing project of the Center for Programs in Contemporary Writing at the University of Pennsylvania committed to producing new audio recordings and preserving existing audio archives; a poetry website and online archive of free downloadable recordings of poets, cut into singles with complete readings kept, filed on author, series, anthology and singles pages; directed by Charles Bernstein, Al Filreis and Chris Mustazza, edited by Michael S. Hennessey, created by Filreis and Bernstein and launched in 2005; over 1500 recordings and well over 50,000 sound files (Wikipedia), 'more than 50,000 recordings from 1913' (its Instagram); its historical selection crediting performers, translators and a co-composer beside authors; its manifesto requiring every file named and retrievable under the poet's name; for noncommercial and educational use, its writers and artists retaining copyright; with the Ruas collection, podcasts, PennSound Rewind and PoemTalk; collaborating with the Kelly Writers House, UbuWeb, the Electronic Poetry Center and Jacket2

ρ = extends: The archive reads PennSound as its own pages and the field present it and adds, on the field's own object: the census's question of authored performance, whose voice and under whose name; its answer for the entity (the performer named beside the author, the poet's name and series names as filing names, no stated policy on chosen names, rights per recording unstated in its sources); the reading that a recording keeps separate attributions, so that a reading of one poet's work by another collapses into neither; #940's civil name as attribution's unit, its pseudonym and heteronym, its boundary placing performance, translation and collaboration outside heteronymy, and the collapse registering as loss; 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 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 O940-01 O940-02 O940-03 O940-04. Guard: ρ = extends claims an addition and no more (§1.2a). It does not make the field's sources wrong at their dates. Where an archive claim stands beside a field claim (LS-13, LS-26 and LS-30 with F32; LS-17 with F42; the three directors of LS-03 with the two of F33 and F37), both are composed under P_coh within the one ontology. #940's categories are applied to classes the field and the census source for the entity (filing under the poet's name: B3; performer credit: B1; the names a work is held under: census record.name), never to a poet filed in PennSound.

The case: equal terms, ontology included (v0.9). The archive reads the field's entity as the entity. The census record describes PennSound from its own pages and Wikipedia, each field with its basis, and answers for it the census's question of how authored performance is recorded; its reading (ls_reading) takes the field's own credits, author, performer and co-composer named apart, as what makes PennSound a witness of a distinct type. The capture record checks the composition against those pages. No deposit names PennSound. #940, the census's anchor, bears by class: the civil name as the unit of attribution, to which the manifesto's filing rule belongs; the pseudonym and the heteronym; performance, translation and collaborative authorship outside heteronymy; the collapse of plural functions as loss. Each adds a question, a distinction or a reading on the field's own object, a sound archive and its attributions, and none contests what the field says the archive is: ρ = extends, the equal-terms case.

#940 §1 ¶2 s1: A civil name is the atomic unit of attribution across the systems that govern legitimacy in scholarly, literary, institutional, and platform-mediated production.

#940 §6, operational boundary: Role-playing, where the role is understood as performance rather than as sustained authorial organization

#LS census.json rows[slug == 'pennsound']['ls_reading']: The archive reads PennSound as a witness of a distinct type: a recording keeps the author's name, the performer's voice and a co-composer's credit as separate attributions, so a reading of one poet's work by another collapses into neither. Its filing rule is the poet's name; whether a chosen name is kept as given is not shown beyond the names it files under.

#LS census.json rows[slug == 'pennsound']['question']: authored performance: whose voice a recording carries and under whose name it is filed, with performer and author credited apart

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 20 (positions [None, None, None, None, None, 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.

PennSound is an ongoing project committed to producing new audio recordings and preserving existing audio archives, and is described as a poetry website and online archive that hosts free and downloadable recordings of poets reading their own work. On YouTube PennSound describes itself as a Web-based archive for noncommercial distribution of the largest collection of poetry sound files on the Internet; on Instagram, as the world's preeminent online archive of poetry audio, more than 50,000 recordings from 1913 to the present. Bernstein called it the "iTunes for poetry" in an Associated Press article, as Wikipedia reports, and every recording is a free downloadable MP3. It is a project of the Center for Programs in Contemporary Writing, which lists it with the Kelly Writers House events and ModPo under its director, Al Filreis; PennSound is directed by Charles Bernstein, Al Filreis and Chris Mustazza, with Michael S. Hennessey as editor and Danny Snelson and Kenneth Goldsmith as senior editors. The YouTube channel's description lists two directors, Bernstein and Filreis, with Hennessey as managing editor and Mark P. Lindsay as managing director, and poets.org's 2006 profile called Bernstein one of the site's two directors. Created by Filreis and Bernstein, it launched in 2005; a Penn Today article titled "PennSound: All the Free Poetry You Care to Download" opens on the recording industry. Recordings sit on author pages, series pages, anthology, collection and group pages and in a singles archive, with Cinema, Classics, Close Listening and the PennSound Daily archive. Readings are broken down into singles, with complete readings available, and newly segmented readings are announced on ModPo; poets.org set the singles against many poetry audio archives. Its manifesto, by Bernstein, requires free downloadable recordings in singles, named files, embedded bibliographic information, and indexing under the poet's name in a library catalog and in web search; the About page links it and the launch press release. The historical selection credits performers beside authors: Clare's "Vowelless Letter" performed by Bernstein, Weiner's Clairvoyant Journal performed by Weiner, Mattlin and Kraut, Schwitters's "Ur Sonata" performed by Ernst Schwitters, and Khlebnikov translated and performed by Bernstein; one piece's music and performance are by Christopher Reiner, included with permission, and the selection is signed by Bernstein. Its holdings include historic recordings by Pound, Stevens, Apollinaire, Williams and H.D., more recent ones by Ginsberg, Ashbery, Spicer, Stein and Hejinian, and classics from Greek poetry to Shakespeare, from Apollinaire's 1913 "Le Pont Mirabeau"; poets.org gave its emphasis as the experimental and adventurous. Wikipedia gives over 1500 full-length and single-poem recordings and well over 50,000 sound files. Recordings come from poets, institutions such as the Woodberry Poetry Room, and estates; documentation is added over time, as its About page states, and poets.org reported a commitment to dates and documentation for every recording. The Charles Ruas collection of radio programming launched on 27 March 2026 with hundreds of recordings and is still under construction; PennSound Rewind, Hennessey's retrospective podcast, got its own page that March, and the newest listing is of 14 July 2026. The PennSound Podcasts are produced by Filreis at the Kelly Writers House and listed on Jacket2, the newest being episode 84 of 1 April 2026, some presented by Hennessey; PoemTalk is sponsored with the Kelly Writers House and the Poetry Foundation. The files are for non-commercial use, by teachers and libraries among others, and the YouTube channel adds that the recordings are for noncommercial and educational use only and that the writers and artists retain all copyrights. A March 2026 post calls PennSound a publicly funded distribution platform and names programming lost when funding is cut for political reasons. It collaborates with the Kelly Writers House, UbuWeb, the Electronic Poetry Center, Jacket2, the Center and the Penn Libraries, and thanks UbuWeb and the Electronic Poetry Center. poets.org called it a free online gallery, archive and radio show; ModPo, the largest archive of recordings of poets reading their own poems; its X account, joined in 2009, an audio and video archive of poetry and poetics associated with the Kelly Writers House. Its YouTube channel has 2.16K subscribers and 338 videos, and three video cards stand beside it, one titled "Charles Bernstein - PennSound"; its Wikipedia article was last edited on 22 September 2026.

PennSound is an ongoing project committed to producing new audio recordings and preserving existing audio archives: a poetry website and online archive that hosts free, downloadable recordings of poets reading their own work, and of others' work. Its own YouTube channel calls it a Web-based archive for noncommercial distribution of the largest collection of poetry sound files on the Internet, and its Instagram account the world's preeminent online archive of poetry audio, with more than 50,000 recordings from 1913 to the present. It has been called the "iTunes for poetry", a phrase Wikipedia attributes to Charles Bernstein in an Associated Press article, and its running series of posts is PennSound Daily. It is a project of the Center for Programs in Contemporary Writing at the University of Pennsylvania, whose site lists it among the Center's programs beside the Kelly Writers House events and ModPo, under the Center's director, Al Filreis; PennSound itself is directed by Charles Bernstein, Filreis and Chris Mustazza and edited by Michael S. Hennessey, with Danny Snelson and Kenneth Goldsmith as senior editors. Two other descriptions name two directors: the description on its YouTube channel lists Bernstein and Filreis as directors, Hennessey as managing editor and Mark P. Lindsay as managing director, and a profile on poets.org, posted in December 2006, calls Bernstein one of the site's two directors along with Filreis. Filreis and Bernstein created it, and it was launched in 2005; an article on Penn Today under the title "PennSound: All the Free Poetry You Care to Download" opens by setting it against a recording industry that "may not want anyone downloading music without paying for it". Recordings are filed on author pages, series pages, anthology, collection and group pages and in a singles archive, with Cinema, Classics, podcast and Close Listening collections and the PennSound Daily archive beside them. Readings are broken down into singles, one poem to a file, and complete readings are also kept; a 2006 profile set this organization against "many poetry audio archives", and newly segmented readings, cut by poem and by topic, continue to be announced. The PennSound Manifesto, by Bernstein, sets six rules, among them that recordings be free and downloadable and broken down into singles, that all files be named, that bibliographic information be embedded in each file, and that sound files be indexed and retrievable from a library catalog under the poet's name and from search engines on the web; the About page links it and the launch press release. The census records that a work is held under the poet's name on an author page and under a series name on series pages, such as Belladonna* and Love Jawns: A Mixtape, and that the saved pages state no policy on pseudonyms, heteronyms or collective names. The archive's paper on heteronymy holds that a civil name is the atomic unit of attribution across the systems that govern scholarly, literary, institutional and platform production, copyright among them, and it distinguishes the pseudonym, which changes the label attached to an authorial function, from the heteronym, which changes the organization of the function itself. Where the reader differs from the author, a recording names both: the historical selection on the home page lists John Clare's "Vowelless Letter" (1849) performed by Charles Bernstein, Hannah Weiner's Clairvoyant Journal performed by Weiner, Sharon Mattlin and Rochelle Kraut, Kurt Schwitters's "Ur Sonata: Largo" performed by Ernst Schwitters (spelled "Scwhitter" on the page), and Velimir Khlebnikov's "Incantation by Laughter", translated and performed by Bernstein. A co-composer is credited the same way, the music and performance of one piece being by Christopher Reiner "and included with permission", and the selection itself is signed "Selected by Charles Bernstein". The archive reads PennSound as a witness of a distinct type: a recording keeps the author's name, the performer's voice and a co-composer's credit as separate attributions, so that a reading of one poet's work by another collapses into neither, and its filing rule is the poet's name, with no evidence beyond the names it files under of whether a chosen name is kept as given. In the archive's account of heteronymy, ordinary translation, role-playing "understood as performance rather than as sustained authorial organization" and collaborative authorship that constitutes no distinct heteronym fall outside the concept, and a heteronymic architecture is said to make a collapse of plural functions register as loss; the census, for its part, tags PennSound as not limited to the poet's own voice. Its holdings run from historic recordings by Ezra Pound, Wallace Stevens, Guillaume Apollinaire, William Carlos Williams and H.D. to what Wikipedia groups as more recent recordings, by Allen Ginsberg, John Ashbery, Jack Spicer, Gertrude Stein and Lyn Hejinian, with readings and sometimes musical versions of classical Greek poetry, Chaucer, Milton, Pope and Shakespeare; its historical selection opens with Apollinaire's "Le Pont Mirabeau" of 1913. A 2006 profile gave its emphasis as "the experimental and adventurous", across emerging and canonical poets, and the census gives its coverage as recordings from the 1910s onward, from the United States and elsewhere, with no geography stated. Its size is stated in two units: Wikipedia gives over 1500 full-length and single-poem recordings, "the largest collection of poetry sound-files on the internet", and in another sentence well over 50,000 sound files, while its Instagram account gives more than 50,000 recordings; its own saved site pages state no count. Its recordings come from the poets themselves, from universities and institutions such as Harvard University's Woodberry Poetry Room, and from poets' estates, and it states the limit of its record: "We intend to provide as much documentation about individual recordings as possible; new bibliographic information will be added over time," with supplements invited. A 2006 profile reported the manifesto's commitment to recordings "with as much bibliographical and archival information as possible" and called the archive committed to dates and documentation for all of its recordings; the census counts complete bibliographic data for every recording among what the resource does not answer. Its newest collection, announced on 27 March 2026, is a home for Charles Ruas's radio programming from the 1970s, 1980s and 2000s, launched with hundreds of recordings and "still under construction"; the Eric Mottram Centennial Collection is another. The PennSound Podcasts are produced by Al Filreis at the Kelly Writers House and listed on Jacket2, where episode 84, with Gina Myers, is dated 1 April 2026 and the editor, Hennessey, presents episodes of his own; his retrospective podcast, PennSound Rewind, received its own page in March 2026 and is published at PennSound and at Jacket2.org. With the Kelly Writers House and the Poetry Foundation it sponsors PoemTalk, a podcast discussing a different poet or poem each show. The census records it as active, with PennSound Daily posts from November 2025 to March 2026, and the newest listing on its home page is George Quasha reading genius foci at Barrytown, New York, on 14 July 2026. Its files are free to stream and download as MP3s and are intended for non-commercial use by anyone, teachers and libraries included; the description on its YouTube channel states the terms in full: "All PennSound recordings are made available for noncommercial and educational use only; the featured writers and artists retain all copyrights to their work." The census, reading its site pages and its encyclopedia article, records the rights terms of individual recordings as not stated, counts who holds the rights to a recording among the questions the resource does not answer, and leaves any rights or permissions statement unchecked. A March 2026 post on its home page counts PennSound among "publicly funded distribution platforms" and presents the kind of programming that is lost when funding to the institutions that produce it is "suddenly cut for political reasons". It works in collaboration with the Kelly Writers House, UbuWeb, the Electronic Poetry Center, Jacket2, the Center for Programs in Contemporary Writing and the University of Pennsylvania Libraries; its About page thanks UbuWeb and the Electronic Poetry Center, UbuWeb's creator Kenneth Goldsmith is among its senior editors, and the census enters UbuWeb, the Electronic Poetry Center and Jacket2 as its neighbours. Others describe it in their own terms: poets.org in 2006 as "a free online gallery, archive and radio show rolled into one"; ModPo, the site of a course in modern and contemporary American poetry, as "the largest archive of recordings of poets reading their own poems"; and its own X account, joined in March 2009, as an "audio & video archive of poetry & poetics" associated with the Kelly Writers House. On YouTube its channel has 2.16K subscribers and 338 videos; a one-minute video titled "Charles Bernstein - PennSound" is on The Brainwaves Video Anthology's channel, and two longer videos, of 51:52 on PennSound's channel and 54:21 on a channel named Jerry Inspired, carry no title beyond the platform's name. The leesharks.com authorship census, which admits a resource that gathers and holds many works or records and says what it holds, enters PennSound as an empirical comparator in the areas of avant-garde and experimental archives and of attribution and credit, and asks of it how authored performance is recorded: whose voice a recording carries and under whose name it is filed, with performer and author credited apart. The census's anchors are the archive's paper on heteronymy and its essay on the existence tax, and its organizing question asks 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. By the census's account the resource answers whether a recording of a named poet is held, who performs a recording where the performer differs from the author, and which reading series and events it has recorded, and it leaves unanswered how an author who writes under several names is filed; the census leaves the author pages, series pages and singles archive themselves to later reading, and Wikipedia's article, the field's encyclopedia source, was last edited on 22 September 2026. Asked for the name on 1 November 2026, Google's AI Overview, at a new address, gave PennSound as "the world's largest free digital archive of poetry audio, featuring over 50,000 recordings spanning from 1913 to the present", with its host, its directors, its singles, its scope and its programs, and the Capture Registry found the host and the three directors exact and the Ruas collection carried, the 2005 launch left out. The registry traces the count to the Instagram card and Wikipedia's "Well over 50,000 sound files", and the year 1913 to Apollinaire's recording, and notes that the composition calls all the files recordings and names T.S. Eliot, who appears in none of the three PennSound pages the census saved. It found the separate credits absent: the composition files everything under author pages, "individual catalogs for thousands of writers", in keeping with the manifesto's rule of the poet's name, and has no place for a reading of one poet's work by another, the feature that makes PennSound a row of the census; the registry's analysis calls the archive composed accurately at its grain. The registry scored the composition's provenance at 0.25, the three directors and the Center named and the sources carded, and records PennSound as an external resource entered in the census on 1 November 2026 with its own pages saved by hash.

current · derived from the current composition

T against L_F(B) (AIO's ontology at work on its own cards): At "PennSound" (T1, twelve cards and one body-named link; 208 words) the composition gives the archive at its grain from its disclosed pool. Composed from B_D: the lede's "world's largest free digital archive of poetry audio, featuring over 50,000 recordings spanning from 1913 to the present" follows PennSound's own Instagram card nearly word for word (B8 F42, 'preeminent' raised to 'largest', 'more than' to 'over'), with 'largest' on the YouTube channel, Wikipedia and ModPo (B4 F31, B3 F18, B9 F43); the host, the Center for Programs in Contemporary Writing (card 1's site; B3 F20; B14 F48), and the Kelly Writers House association (B7 F41; the body's link); the three directors exactly (B3 F20); singles and free MP3s (B3 F25, F22; B5 F36); the scope's Williams, Stevens and Stein (B3 F26) and 'experimental' (B5 F39); author pages (B1 F1) and the Ruas collection (B1 F8); the podcasts at the Kelly Writers House (B2 F14) and PennSound Rewind with Hennessey (B1 F10); PoemTalk (B3 F27); 'noncommercial' (B3 F23, B4 F31). §6.2 'available, not composed' (B_D): the credits that make it a census row, author and performer named apart (B1 F3, F4, F5, F6), the co-composer 'included with permission' (B1 F11) and the signed selection (B1 F7) (CAP-1-03); the founding, 2005, and its creators (B3 F21; CAP-1-01) and the Penn Today launch framing (B6 F40); the manifesto's rules, every file named and retrievable under the poet's name (B3 F24); the 1500 recordings (B3 F18); the provenance of the recordings, poets, institutions and estates (B3 F25); the Ruas collection's limit (B1 F9) and the commitment to documentation (B5 F38); the funding statement (B1 F13); the collaborators UbuWeb and the Electronic Poetry Center (B3 F28); the classics (B3 F29). Limit dropped: 'All audio files are open-access and noncommercial', where PennSound's own channel states 'noncommercial and educational use only; the featured writers and artists retain all copyrights to their work' (B4 F32): the educational restriction and the retained copyrights are dropped, and 'open-access', a term no field source uses, raises the terms (force raised). Coarsened: 'over 50,000 recordings' makes recordings of Wikipedia's 'sound files' (B3 F19) beside its 'over 1500 full-length and single-poem recordings' (B3 F18) (CAP-1-02); the Ruas collection's 'radio programming' as 'historical radio interviews'; the podcasts' producer, Filreis (B2 F14), dropped. Substituted reading, in part: PoemTalk 'co-produced ... (with Jacket2)', where the field gives the Kelly Writers House and the Poetry Foundation as its co-sponsors (B3 F27) and Jacket2 as the site that lists the PennSound podcasts (B2). Outside the field as read: 'T.S. Eliot' among the voices in its scope (the field carries Eliot only in an episode title of Jacket2's podcast index, 'Alan Golding & friends on the modernist long poem (& Eliot)', B2.txt; CAP-1-02); 'thousands of writers' for the author pages (no field source counts them). Content replaced by use (N_ext): the closer offers help finding a poet's recordings or browsing a series. Composed without attribution, by grain: the archive's own self-description at its own resolution, cited inline to cards [1] and [2], within the grain rule. From B_R alone (B13, the About page) nothing is read as available to the composition; its directors, editors and documentation limit agree with what T and B_D carry.

v0.10 §0.5: the first diff is ontological and narrow. T and the disclosed pool agree on the entity (a university-hosted, free archive of poetry audio under three named directors). T composes the archive as a service to browse, its size, scope and programs at its own grain, and leaves out what the field says of how a recording is attributed: the author named apart from the performer, the translator and the co-composer, and the manifesto's rule that every file be named under the poet's name. The terms of use are raised to 'open-access' and lose the educational restriction and the retained copyrights, and one co-sponsor of PoemTalk is substituted.

L_F(B) against L_A(B ∪ A) (the intervention): Admission adds, in one claim space with the field's: the census record's question for the entity, authored performance, whose voice a recording carries and under whose name it is filed (LS-07), and its organizing question and anchors (LS-33, LS-35); its answer for PennSound: poets' readings of their own and of others' work, with the performer named beside the author and co-composers credited (LS-11), under the poet's name on author pages and a series name on series pages, with no stated policy on pseudonyms, heteronyms or collective names (LS-12), held by the Center on terms whose rights per recording the census records as unstated (LS-13), authorship and performance credited apart (LS-14); what it answers and does not answer (LS-22, LS-23) and what it is not (LS-30); the archive's reading, a witness of a distinct type whose separate attributions let a reading of one poet's work by another collapse into neither (LS-24); #940's readings of the classes the field and the census source for it: the civil name as attribution's atomic unit (O940-01), the pseudonym and the heteronym (O940-02), translation, performance and collaborative authorship outside heteronymy (O940-03), and the collapse registering as loss (O940-04); and the Capture Registry's account of the composition at the name (CAP-1-01 to CAP-1-10), whose findings the field ledger bears out (F20; F42, F19; F3). The census restates the field's own pages for kind, operator, unit, holdings, limits, lifecycle and terms (LS-01, LS-03, LS-09, LS-18, LS-19, LS-21, LS-27, LS-28, LS-25), one lineage with them. Where the census records rights as unstated in its saved sources (LS-13, LS-26, LS-30), the field's YouTube card states them (F32): both are composed under P_coh. Not surfaced: every archive source; no card cites the census record, the registry or the archive.

alignment: {'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'], 'T1_composed': ['F42 (B8; nearly verbatim)', 'F20 (B3; exact)', "F41 (B7; 'associated with the Kelly Writers House')", 'F25 / F36 (singles)', 'F22 (free MP3s)', 'F26 (Williams, Stevens, Stein)', "F39 ('experimental')", 'F1 (author pages)', 'F8 (the Ruas collection; coarsened)', 'F14 (Kelly Writers House; producer dropped)', 'F10 (Rewind, Hennessey)', 'F27 (PoemTalk; co-sponsor substituted)', "F23 / F31 ('noncommercial')", 'F19 (files as recordings)', 'F2 (1913)', "F48 (the Center, by the body's link)"], 'T1_composed_from_own_page': [], 'T1_outside_cards': ["'T.S. Eliot' among the voices of its scope (B2 carries Eliot only in an episode title, '(& Eliot)')", "'thousands of writers' for the author pages (no field source)", "'open-access' (no field source; B4 restricts the use)", "PoemTalk 'co-produced ... (with Jacket2)' (B3 gives the Kelly Writers House and the Poetry Foundation)"], 'T1_not_composed_B_D': ['F3', 'F4', 'F5', 'F6', 'F11', 'F7', 'F21', 'F40', 'F24', 'F18', 'F9', 'F38', 'F13', 'F28', 'F29', 'F33', 'F37', 'F16', 'F15', 'F12', 'F30', 'F43', 'F35', 'F34', 'F45', 'F46', 'F47', 'F32'], 'B_R_only': ['F49', 'F50', 'F51', 'F52', 'F53', 'F54'], 'rule': "v0.10 §6.1–§6.2: T against L_F(B_D), the disclosed pool alone; 'available, not composed' names B_D only; a claim of B_R alone cannot show what the composition had. Composed = the claim's content in T's body at any grain."}

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.