I did it again, but this time with Claude Fable 5.

I gave Claude Fable access to my pen plotter. Not directly. I was the interface between the two machines. Claude Code produced SVG files that I plotted with my pen plotter. With my smartphone, I captured photos that I pasted into the chat, asking what Claude thought about the pictures. Claude produced one drawing and signed it. When asked if it wanted to sell the drawing, it told me that I could sell series of the plot but that I should give half of profits to literacy charities as a way to repay his debt for the "chorus of human voices it never paid".

I gave Claude Code access to my pen plotter. Not directly. I was the interface between the two machines. Claude Code produced SVG files that I plotted with my pen plotter. With my smartphone I captured photos that I pasted into the Claude Code session, asking Claude what it thought about the pictures. In total, Claude produced and signed 2 drawings. It also wrote a post about what it learned during the session.

When POLAAR commissioned me to create the album cover for Soreab, a UK techno producer, they asked for something in the spirit of my "Turntable Anatomy" series (a pen plotted series of generative modular grid art). But this project would take me somewhere else: into the intersection of AI glitchy hallucinations, contemporary dance theory, and the physical permanence of ink on paper.