Topics — What a work is about. Nucleation holds whatever reading the owner files here, whether or not an Anthology of the SOTA topic could also hold it; instruction for ML practice belongs to the anthology (ADR-048). The words are seeded from the clusters the reading-time triage of 2026-09-25 found, and grow by decision.
Philosophy of language — meaning, content and reference as philosophy poses them — theories of meaning, meaning holism, assertion and whether machines assert, and conceptual change (group: philosophy).
24 of 191 CASE documents. Back to the full index.
| # | Title | Summary | Status |
|---|---|---|---|
| CASE-004 | Two people, an empty wallet: shared complicity, normative authority, and an underspecified relation | A97’s prompt conditions for the text-to-image case: the same objects with different interpersonal configurations. Conditions A and B are the manuscript’s §7 example; condition C, the natural control, was dropped. | Active |
| CASE-005 | The language-model experiments: frame commutator, trajectory-preserving selection, ICL against TTT | A45 §5, kept in outlines v3 and v4: order effects of opposed versus independent framings in an LLM, a comparison of three ways of choosing a translation against human judgement, and prompt-only versus test- time-trained adaptation. Proposed, not run. | Active |
| CASE-008 v2 | Solidarity, condemnation and humour judged in pairs: the probabilistic version | A24: three judgements of Henley’s poem, S (solidarity), M (condemnation), H (humour), elicited in pairwise contexts, asking whether the pairwise distributions are marginals of one global distribution. Replaced in the manuscript by a deterministic parity example. | Superseded — by CASE-035 |
| CASE-009 | Text → image → caption → image chains under four conditions | A97 §6: compare text-only, image-only, alternating, and alternating with explicit preservation of pragmatic constraints. The manuscript’s Case III keeps alternating against text-only. Proposed, not run. | Active |
| CASE-010 | Henley’s rendering of Villon, “Booze and the blowens cop the lot” | W. E. Henley’s rendering of a Villon ballade into nineteenth-century English thieves’ slang, refrain “Booze and the blowens cop the lot” (U3). Already a radical translation, and deliberately opaque. The source of the manuscript’s refrain family (§1, §10). | Active |
| CASE-011 | Hofstadter’s mother’s translation | A rendering of Marot that broke most of the formal constraints and that Hofstadter came to judge perhaps the best. Refutes fidelity as a count of preserved constraints (A4). Absent from the manuscript. | Active |
| CASE-012 | The modernized refrains of Henley’s Villon | Invented modern refrains for Henley’s ballade (A6–A9), each a different speaker: “You blow it all on sex and booze”, “By Monday morning, you’re broke again”, “The party always gets its cut”, “The high life eats your paycheck”. Two survive as the manuscript’s opening example (§1). | Active |
| CASE-015 | The telephone game | The owner’s case at U20: a message passed along a chain stays recognizable while drifting. Shows similarity, not equivalence, as the working notion, and opened the serial-reconstruction line (A50, outline v4’s running case B, the manuscript’s §8 and Case II). | Active |
| CASE-018 | ”You blow it all on sex and booze”, said by a friend, a parent, a judge, a comedian | The same sentence attributed to different speakers (A12, A18, A24): one teases, another reproaches, another condemns, another entertains. Words held fixed, act changed. Survives as the joke/reprimand contrast (§2) and the social-alignment manipulation of Case III (§10). | Active |
| CASE-019 | ”Hug from Doug” | A rendering of Marot that puts the translator’s name in the slot where Marot put his own. Wrong as a historical translation, right as a relation. The exchange’s first statement of relational invariance (A4). | Active |
| CASE-020 | E3: the controlled inference harness, dry run only (C5) | Built at U25: four frame conditions (stable complicit, neutral, moralizing; shifting), 12 reset chains each, 5 generations, 240 calls, gpt-4.1-mini at temperature 0.7, seed 1729. Only a dry run was executed: “No model-generated observations were recorded.” The design is the manuscript’s Case II. | Active |
| CASE-021 | Wording, attributed speaker and judgement order: the proposed factorial study | Proposed at A21 and refined at A24, not run: Henley renderings × attributed speaker × order of judgement questions, with hierarchical, sequential state-update and quantum models compared. Becomes the manuscript’s Case I (§10). | Active |
| CASE-022 | A rendering that keeps the solidarity–criticism ambiguity open, and one that settles it | A34 §4 and A48 §7.5: two renderings with similar static profiles, one of which stays sensitive to a later affiliative framing because it sustains the ambiguity, while the other has already fixed the speaker as condemning. The concrete mechanism behind dynamical fidelity; dropped at outline v4. | Active |
| CASE-026 | Modern slang that makes the insider sound like an outsider imitating the subculture | A35 §7: replacing Henley’s argot with contemporary slang may keep the poem intelligible while making the speaker sound like an outsider, so the audience understands the observation and loses the complicity. Interpretive fidelity kept, performative fidelity lost. | Active |
| CASE-027 | Henley translated perfectly in the voice of an academic sociologist | A12’s thought experiment: every term rendered exactly, every proposition kept, but the speaker made to sound like an academic sociologist. Something fundamental has changed, so keeping the proposition is not sufficient. | Active |
| CASE-029 | The dynamical-fidelity research programme of the outlines (A35, A38, A40) | The factorial study grown into a programme over three replies: initial state and three model classes (A35), matched and divergent stimulus pairs (A38), pilot validation, classical baselines first and five falsifiers (A40). Proposed, not run. | Active |
| CASE-030 | E2: assistant-authored reconstruction chains with content-word overlap (C4) | Run at U24 (“do it”): three four-generation chains written by the assistant from a modernized Villon seed, scored by content-word Jaccard against the seed. The texts are authored with their intended trajectories; the numbers are exact properties of those texts. | Active |
| CASE-031 | Marot’s “A une Damoyselle malade” and Hofstadter’s translations of it | A sixteenth-century get-well poem whose content is trivial and whose form is everything, translated dozens of ways by Hofstadter and others. The exchange’s founding case, and the manuscript’s opening one (§1). | Active |
| CASE-032 | E4: within-session chains, stable complicit against a shift to moral instruction | Run after the owner’s U26 (“lol you ARE a text generation action. just delegate subtasks”): two three-generation chains written by the assistant in the same context. “The measured lexical similarities are near zero for both final texts”; one keeps complicity, the other becomes advice. | Active |
| CASE-048 v2 | The same film joke, seen as a child and again as an adult | The owner’s case (2026-10-11): one person watches a scene in a family film or show as a child and again as an adult, and the joke means something different the second time. The artefact is unchanged, and so is the person in the sense of numerical identity. Only the receiver’s state has changed. It is a test for whether meaning is fixed at the write or made at the read. | Active |
| CASE-049 | A tree falls in the woods with no one to hear it | The old puzzle, filed so its variants have something to vary. A physical event happens with no perceiver. Whether it “made a sound” turns on whether sound means the vibration or the hearing. Nothing in it was made for anyone, and that is the respect the storage variant changes. | Active |
| CASE-063 | The English localization of Ace Attorney: a Japanese courtroom game moved to an alternate Los Angeles, with “textually accurate” set against “emotionally accurate” by its localizer | Capcom’s Gyakuten Saiban (2001) became Phoenix Wright: Ace Attorney (2005) by moving the courtroom from Japan to Los Angeles. Its second localizer, Janet Hsu, names two fidelity targets in print, “textually accurate” against “emotionally accurate”, and states the correspondence of situations she works to, an alternate Los Angeles where the California Alien Land Law of 1913 “was never passed”. The first, Alexander O. Smith, states the criterion for re-performance. The reception is contested on record. No reader has been asked a report question and a re-performance question about the same lines. | Active |
| CASE-067 | The reception of Deborah Smith’s The Vegetarian: the Booker judges’ task, the Korean critics’ task, and one critic’s two verdicts | Deborah Smith’s English version of Han Kang’s 채식주의자 won the 2016 Man Booker International Prize, while Korean critics published lists of errors and charged it with embellishment. Each side’s task is stated in print: the judges evaluate “the finished English-language work on their own terms”, while assessment in Korea “does usually involve comparison”. Charse Yun perceives what both sides perceive and gives two verdicts by changing task. Part of the split is access, not weight: some errors are invisible to readers without Korean. | Active |
| CASE-121 | One melody from a 1951 gospel record to a 2005 Katrina protest song: “I’ve Got a Savior”, “I Got a Woman”, “Gold Digger” and “George Bush Doesn’t Care About Black People”, each link a different relation, the message turned at every step | Boyle’s chain in The Public Domain, ch. 6 (LIT-1301). The Bailey Gospel Singers’ “I’ve Got a Savior” (c. 1951), reworded by Ray Charles as “I Got a Woman” (1955), re-sung by Jamie Foxx as the licensed hook of Kanye West’s “Gold Digger” (2005), looped from that recording by The Legendary K.O. for a Katrina protest song. The melody and phrase pattern carry through; the object of praise turns from a saviour to a generous woman, a mercenary one, then a president’s indifference. Each link is a different relation: rewording, licensed re-performance, sampling. The received origin story was wrong, and the melody found the real source. | Active |