Ghosts

Week Two: Ghosts — Generation

[ ENG 6806 // FALL 2026 // WEEK OF AUGUST 31, 2026 ]

Atlantic headline: College Students Have Already Changed Forever, by Ian Bogost
Bogost excerpt on ChatGPT's launch and the transformation of college
Forbes: MIT Says AI Is Forcing A Rethink Of College Itself, with an AI-generated summary of MIT's report

Schmelzer, “MIT Says AI Is Forcing A Rethink Of College Itself,” Forbes

Bogost excerpt quoting Vasilis Theoharakis on ubiquitous student AI use
Lori Emerson's blog post Interfaced
Emerson excerpt: What is an interface?
Emerson excerpt on Walter Benjamin and interfaces structuring perception
Emerson excerpt: writers and artists using devices as probes
Ted Underwood blog post: A more interesting upside of AI
Underwood on co-intelligence and cultural technologiesUnderwood on the missing positive vision in AI discourse
Anthropic interpretability figure: feature activation distributions for the Golden Gate Bridge
Underwood on language models as maps of cultural space
“In order to explain how large language models like ChatGPT work, we can start with earlier, simpler language models. This technology goes back to the 1940s, when Claude Shannon, building on even earlier work by Andrey Markov, proposed the first “n-gram” language models (“n” here stands for a number and “gram” is a word)…These simple n-gram language models already have uses. For example, they were a key component of the T9 system for texting on early cell phones…simple n-gram models were also used to rank possible corrections in simple spell-check algorithms and served as a component of automatic transcription and machine translation systems.”

Bender and Hanna, The AI Con – pg 24

Cover of The Policeman's Beard Is Half Constructed, computer prose and poetry by Racter
Page spread from The Policeman's Beard: a hot and torrid bloom poem with Joan Hall illustration
Page spread from The Policeman's Beard: slowly I dream of flying poem with Joan Hall illustration
“A neural net is “trained” by giving it some (usually random) initial set of weights on the connections between the perceptrons and then repeatedly comparing its output to the labels given in the training data. Each time the system is wrong, the weights in the network are adjusted slightly to make it closer to right…The next step towards creating ChatGPT and similar language model-driven chatbots involved taking technology designed for classification and turning it inside out: rather than classifying different strings as more or less likely, a generative language model is designed to pick a likely word given some input, take the initial input plus that word as the next input, pick another next likely word, and so on.”

Bender and Hanna, The AI Con – pg 26-27

Behind The Policeman's Beard: back-cover notes on Racter, Chamberlain, and Joan Hall
“Though the most basic and fundamental use of language is in face-to-face communication, once we have acquired a linguistic system, we can use it to understand linguistic artifacts even in the absence of co-situatedness, at a distance of space and even time. But we still apply the same techniques of imagining the mind behind the text, constructing a model of common ground with the author, and seeking to guess what the author might have been using the words to get their audience to understand. Language models, problematically, have no subjectivity with which to perform intersubjectivity…there is no mind there, and we need to be conscientious to let go of that imaginary mind that we have constructed.”

Bender and Hanna, The AI Con – pg 30

Introduction page of The Policeman's Beard: the writing in this book was all done by a computer
Archived Racter FAQ from robotwisdom.com

https://web.archive.org/web/20070225121341/http://www.robotwisdom.com/ai/racterfaq.html

Atari Archives: a program writes about itself

https://www.atariarchives.org/deli/write_about_itself.php

“General intelligence is not something that can be measured, but the force of such a promise has been used to justify racial, gender, and class inequality for more than a century. The paradigm of describing “AI” systems as having “humanlike intelligence” or achieving greater-than-human “superintelligence” rests on this same conception of “intelligence” as a measurable quantity by which people (and machines) can be ranked.”

Bender and Hanna, The AI Con – pg 36

Also This Week: Mitchell, Part II

“Looking and Seeing” is officially about machine vision — we’ll come back to the image chapters when we reach the Shells unit.

For now, read it for the ethics: what would it take to trust a system that learned everything it knows from data?

Cover of Melanie Mitchell’s Artificial Intelligence: A Guide for Thinking Humans
Mitchell on machine learning systems deployed as decision makers and what makes them trustworthy

Mitchell, Artificial Intelligence: A Guide for Thinking Humans — Part II

Mitchell on regulation priorities and attention given to superintelligence versus reliability

Mitchell, Artificial Intelligence: A Guide for Thinking Humans — Part II

Underwood: Is super-intelligence the upside for AI? with Helen De Cruz post

Recommended Viewing This Week: The Matrix Series

The Analyst: they want to be controlled, they crave the comfort of certainty

The Analyst, The Matrix Resurrections (2021)

One Useful Thing: Claude Dispatch and the Power of Interfaces, by Ethan Mollick

Mollick, “Claude Dispatch and the Power of Interfaces,” One Useful Thing

Mollick on chatbot cognitive costs: the workers hurt most were the least experienced

Mollick, “Claude Dispatch and the Power of Interfaces,” One Useful Thing

Mollick: Interfaces on Demand — Claude generating interactive visualizations in conversation

Mollick, “Claude Dispatch and the Power of Interfaces,” One Useful Thing

Mollick's conclusion: AI capability has been running ahead of AI accessibility

Mollick, “Claude Dispatch and the Power of Interfaces,” One Useful Thing

Claude settings, Capabilities tab, with the Artifacts and AI-powered artifacts toggles

Before you start: Settings → Capabilities — make sure Artifacts and AI-powered artifacts are on

Claude settings, Privacy tab, with the Help improve our AI models toggle

Before you start: Settings → Privacy — decide whether your chats can be used for model training

New Claude chat: write a poem inspired by Blake's Songs of Innocence, but focused on the experiences of a new LLM observing the world
Claude's response: The Word, a poem in the catechism structure of Blake's The Lamb
Follow-up prompt: write the darker companion piece and build an interactive artifact version that switches between both
Claude working through the build: drafting the Experience counterpart and loading its frontend design skill
First render: The Word as an illuminated Innocence plate with vine marginalia
Iterating on the artifact: Claude reviews its own Innocence plate and reworks the ornament
The Experience plate: The Weight, with thorned marginalia and flame ornament
Claude explains its design: re-seeded variant copies, clickable variable words, one grammar with two temperaments
Publishing the finished artifact from the preview's Publish artifact menu
The published Songs of a New Machine artifact: The Word rendered as an interactive Blake plate

Songs of a New Machine — the published artifact (claude.ai)

Exercise: Generation and Interfaces

Iterate toward generating a poem you find compelling using your Claude subscription — refine it through at least ten iterations

Pay attention to how Claude’s interface and responses differ from other AI tools you may have used; document frustrations, challenges, and surprises along the way

For your final iteration(s), ask Claude to create an artifact that displays your poem in a formatted website, and publish it to create a shareable web version

Include both the published website link and your reflection in your discussion post

In your reflection, compare this process to how William Chamberlain described his book and the discussions of AI hype versus reality in this week’s readings — and keep Lori Emerson’s discussion of the interface in mind

After ten iterations, whose “voice” is the finished poem in — yours, Claude’s, or some blend that resists the question?