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the method and the source region are recorded per piece; the engine writes down the cut, not the means of generation.", "status": "VERIFIED", "public_status": "VERIFIED", "evidence_ids": [ "EVID-PT0880-611555CC" ], "data": { "pieces": 9, "torn": 7, "cutOut": 1, "whole": 1, "fromArchive": 6 } }, { "label": "Data source", "statement": "Paper Trail handoff record (official record) — paper-trail:0880:handoff.json", "status": "VERIFIED", "public_status": "VERIFIED", "evidence_ids": [ "EVID-PT0880-1F8929EB" ] } ], "contextual_facts": [ { "label": "Collection statement", "statement": "PAPER TRAIL is a collection of 4,000 unique works by Miss AL Simpson, made in 2026 and recorded with RUTHVEN at creation. Each work is a collage cut from the artist's own archive — pieces of her earlier, mostly minted works from 2019 onwards — laid on a sheet with two newly generated elements, a figure and a collage ground, made on models trained on nothing but her own drawings and sheets. The rules were hers: how many pieces, from how many works, from how many years; never three of the same body in one work; the figure larger; paper torn across the eyes. Every work carries a RUTHVEN Origin Passport written the moment it was made, so the collage and its record are both a paper trail — the title is the same words twice, on purpose.", "status": "CONTEXT", "public_status": "CONTEXT", "evidence_ids": [ "EVID-PT0880-6FF828EC" ] }, { "label": "Artist Automation (essay summary)", "statement": "In \"Artist Automation\" (Scotland, September 2026), written for the launch of PAPER TRAIL, the artist describes writing a machine — the Archive Engine — to take her seven-year archive apart and recompose it. The machine reads the archive, cuts a piece of one work and lays it with pieces of others according to rules she wrote, adds a generated figure and ground learned from her hand alone, scores the result, discards anything that breaks a rule, and writes down everything it did. She places this in the older tradition of the delegated hand and the cut — Warhol's assistants, LeWitt's instructions, Vera Molnár's imaginary machine, Harold Cohen's forty years, Burroughs and Höch — and distinguishes it from models trained on everyone's pictures: nothing in the four thousand works was not first hers. She did not touch a single cut and touched every rule; the machine proposed and she disposed, refusing some works and changing the rules after the first proofs. It is a loop, not a mind: the machine is not in the work, and she makes no claim that there is intelligence in the picture. What is automated is the labour of remembering — which piece came from where, which year, which hand — and that record is public so that trust in the artist's account of the process is not required.", "status": "CONTEXT", "public_status": "CONTEXT", "evidence_ids": [ "EVID-PT0880-7717B3B2" ] }, { "label": "Artist", "statement": "Miss AL Simpson is a Scottish cryptoartist and founder whose archive of on-chain work begins in 2019 with Bitcoin Bitch and continues through Cash Slave, Old Money Corrupts, Drone Blondes, Interface, Soulbrds, Digital Graffiti, Diamond Drones and the Algorithmic Muse. Her NFTs, intellectual property and brands are stewarded by MISS AL SIMPSON LIMITED, a Scottish company. In February 2025 her work Les Drones was sold in Sotheby's \"Contemporary Discoveries\" sale in New York, in a lineup that included works by Warhol, Rauschenberg, Richard Prince and de Kooning. 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The cut is old — Höch cut up the magazines, Burroughs cut up the page — and what is new is only that each cut is written down, so the record, not the artist's memory, says where a piece came from.", "status": "CONTEXT", "public_status": "CONTEXT", "evidence_ids": [ "EVID-PT0880-2576B1FB" ] } ], "inferred_facts": [], "unknowns": [ { "unknown_id": "UNK-PT0880-F6BD86B2", "local_id": "U1", "label": "Chain identity", "statement": "No chain identifier is recorded. The asset is registered on its own identity; a token, if one is minted, will be added to this record rather than replacing it.", "source": "module.chain-identity", "verification_status": "UNKNOWN", "public_status": "NOT VERIFIED" }, { "unknown_id": "UNK-PT0880-8DAAEDA2", "local_id": "U2", "label": "Current holder", "statement": "No holder is recorded for a public reader. 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The cut is old — Höch cut up the magazines, Burroughs cut up the page — and what is new is only that each cut is written down, so the record, not the artist's memory, says where a piece came from.", "source": { "document": "context_file", "locator": "context/paper-trail.md#how-the-pieces-are-cut", "claim_id": null, "uri": null, "url": null, "root_cid": null, "package_version": null }, "hash": { "algorithm": "sha256", "value": "9a4a2dd778688058c01394884143a230c65ee5e6115c6646e20d4564a610fefd", "of": "statement" }, "verification_status": "CONTEXT", "public_status": "CONTEXT", "evidence_type": null, "immutable": false, "freshness": { "created_at": null, "retrieved_at": "2026-10-11T15:37:06.942Z", "verified_at": null, "source_updated_at": null }, "links": [] } ], "evidence_graph": [ { "from": "EVID-PT0880-F9F88920", "to": "EVID-PT0880-9D9A5FB6", "relation": "cut_from" }, { "from": "EVID-PT0880-F9F88920", "to": "EVID-PT0880-1817D26E", "relation": "placed_as" }, { "from": 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