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Public debate about AI is dominated by Frankenstein Syndrome, the fear that AI will become superhuman and escape human control. Though superintelligence is theoretically possible, it distracts from a more pressing problem: the rise of Artificial Stupidity (AS). This article discusses the cultural roots of Frankenstein Syndrome, and provides a conceptual framework for evaluating the stupidity of artificial agents. It then identifies an alternative literary tradition that exposes the perils and benefits of AS. In the writings of Edmund Spenser, Jonathan Swift and E.T.A. Hoffmann, ASs replace, enslave or delude their human users. More optimistically, Joseph Furphy and Laurence Sterne imagine ASs that can augment human intelligence by serving as maps or as pipes. These writers provide a strong counternarrative to the myths that currently drive the AI debate. They identify ways even stupid agents can thwart human aims, and demonstrate the social and scientific value of literary texts.

The article offers a definition, overview, and assessment of the current state of digital humanities, particularly with regard to its actual and potential contribution to literary studies. It outlines the history of humanities computing and digital humanities, its evolution as a discipline, including its institutional development and outstanding challenges it faces. It also considers some of the most cogent critiques digital humanities has faced, particularly from North American-based literary scholars, some of whom have suggested it represents a threat to centuries-old traditions of humanistic inquiry and particularly to literary scholarship based on the tradition of close reading. The article shows instead that digital humanities approaches gainfully employed offer powerful new means of illuminating both context and content of texts, to assist with both close and distant readings, offering a supplement rather than a replacement for traditional means of literary inquiry. The digital techniques it discusses include stylometry, topic modeling, literary mapping, historical bibliometrics, corpus linguistic techniques, and sequence alignment, as well as some of the contributions that they have made. Further, the article explains how many key aspirations of digital humanities scholarship, including interoperability and linked open data, have yet to be realized, and it considers some of the projects that are currently making this possible and the challenges that they face. The article concludes on a slightly cautionary note: What are the implications of the digital humanities for literary study? It is too early to tell.

Artificial intelligence has a rich history in literature; fiction has shaped how we view artificial agents and their capacities in the real world. This paper looks at embodied examples of human-machine co-creation from the literature of the Long 18th Century (1,650–1,850), examining how older depictions of creative machines could inform and inspire modern day research. The works are analyzed from the perspective of design fiction with special focus on the embodiment of the systems and the creativity exhibited by them. We find that the chosen examples highlight the importance of recognizing the environment as a major factor in human-machine co-creative processes and that some of the works seem to precede current examples of artificial systems reaching into our everyday lives. The examples present embodied interaction in a positive, creativity-oriented way, but also highlight ethical risks of human-machine co-creativity. Modern day perceptions of artificial systems and creativity can be limited to some extent by the technologies available; fictitious examples from centuries past allow us to examine such limitations using a Design Fiction approach. We conclude by deriving four guidelines for future research from our fictional examples: 1) explore unlikely embodiments; 2) think of situations, not systems; 3) be aware of the disjunction between action and appearance; and 4) consider the system as a situated moral agent.

This chapter has four sections: 1. General and Prose; 2. The Novel; 3. Poetry; 4. Drama. Section 1 is by Bysshe Inigo Coffey; section 2 is by Colette Davies and Ruby Hawley-Sibbett; section 3 is by Michael Falk and Shane Greentree; section 4 is by Miranda Kiek.