Large language models are increasingly capable of producing creative texts, yet most studies on AI-generated poetry focus on English -- a language that dominates training data. In this paper, we examine the perception of AI- and human-written Czech poetry. We ask if Czech native speakers are able to identify it and how they aesthetically judge it. Participants performed at chance level when guessing authorship (45.8\% correct on average), indicating that Czech AI-generated poems were largely indistinguishable from human-written ones. Aesthetic evaluations revealed a strong authorship bias: when participants believed a poem was AI-generated, they rated it as less favorably, even though AI poems were in fact rated equally or more favorably than human ones on average. The logistic regression model uncovered that the more the people liked a poem, the less probable was that they accurately assign the authorship. Familiarity with poetry or literary background had no effect on recognition accuracy. Our findings show that AI can convincingly produce poetry even in a morphologically complex, low-resource (with respect of the training data of AI models) Slavic language such as Czech. The results suggest that readers' beliefs about authorship and the aesthetic evaluation of the poem are interconnected.

A key challenge facing deep generative models is the difficulty incorporating high-level structure into the generated examples--e.g., rhyming and meter across lines of a poem, or repetition across

Large language models demonstrate proficiency on phonetic tasks, such as rhyming, without explicit phonetic or auditory grounding. In this work, we investigate how \verb|Llama-3.2-1B-Instruct| represents token-level phonetic information. Our results suggest that Llama uses a rich internal model of phonemes to complete phonetic tasks. We provide evidence for high-level organization of phoneme representations in its latent space. In doing so, we also identify a ``phoneme mover head" which promotes phonetic information during rhyming tasks. We visualize the output space of this head and find that, while notable differences exist, Llama learns a model of vowels similar to the standard IPA vowel chart for humans, despite receiving no direct supervision to do so.

This study explores the potential of phonological reasoning within text-based large language models (LLMs). Utilizing the PhonologyBench benchmark, we assess tasks like rhyme word generation, g2p conversion, and syllable counting. Our evaluations across 12 LLMs reveal that while few-shot learning offers inconsistent gains, the introduction of a novel Pedagogically-motivated Participatory Chain-of-Thought (P-CoT) prompt, which is anchored in educational theories like scaffolding and discovery learning, consistently enhances performance. This method leverages structured guidance to activate latent phonological abilities, achieving up to 52% improvement and even surpassing human baselines in certain tasks. Future work could aim to optimize P-CoT prompts for specific models or explore their application across different linguistic domains.

Kushal Kedia (left) and Prithwish Dan (right) are members of the development team behind RHyME, a system that allows robots to learn tasks by watching a single how-to video. Cornell researchers have developed a new robotic framework powered by artificial intelligence – called RHyME (Retrieval for Hybrid Imitation under Mismatched Execution) – that allows robots to learn tasks by watching a single how-to video. RHyME could fast-track the development and deployment of robotic systems by significantly reducing the time, energy and money needed to train them, the researchers said. "One of the annoying things about working with robots is collecting so much data on the robot doing different tasks," said Kushal Kedia, a doctoral student in the field of computer science and lead author of a corresponding paper on RHyME. "That's not how humans do tasks. We look at other people as inspiration."

The researchers of Anthropic's interpretability group know that Claude, the company's large language model, is not a human being, or even a conscious piece of software. Still, it's very hard for them to talk about Claude, and advanced LLMs in general, without tumbling down an anthropomorphic sinkhole. Between cautions that a set of digital operations is in no way the same as a cogitating human being, they often talk about what's going on inside Claude's head. It's literally their job to find out. The papers they publish describe behaviors that inevitably court comparisons with real-life organisms.

Generative poetry systems require effective tools for data engineering and automatic evaluation, particularly to assess how well a poem adheres to versification rules, such as the correct alternation of stressed and unstressed syllables and the presence of rhymes. In this work, we introduce the Russian Poetry Scansion Tool library designed for stress mark placement in Russian-language syllabo-tonic poetry, rhyme detection, and identification of defects of poeticness. Additionally, we release RIFMA -- a dataset of poem fragments spanning various genres and forms, annotated with stress marks. This dataset can be used to evaluate the capability of modern large language models to accurately place stress marks in poetic texts. The published resources provide valuable tools for researchers and practitioners in the field of creative generative AI, facilitating advancements in the development and evaluation of generative poetry systems.

We show that human players' gameplay in the game of Wordle is influenced by the semantics, orthography, and morphology of the player's previous guesses. We demonstrate this influence by comparing actual human players' guesses to near-optimal guesses, showing that human players' guesses are biased to be similar to previous guesses semantically, orthographically, and morphologically.

Generating poetry has become a popular application of LLMs, perhaps especially of OpenAI's widely-used chatbot ChatGPT. What kind of poet is ChatGPT? Does ChatGPT have its own poetic style? Can it successfully produce poems in different styles? To answer these questions, we prompt the GPT-3.5 and GPT-4 models to generate English-language poems in 24 different poetic forms and styles, about 40 different subjects, and in response to 3 different writing prompt templates. We then analyze the resulting 5.7k poems, comparing them to a sample of 3.7k poems from the Poetry Foundation and the Academy of American Poets. We find that the GPT models, especially GPT-4, can successfully produce poems in a range of both common and uncommon English-language forms in superficial yet noteworthy ways, such as by producing poems of appropriate lengths for sonnets (14 lines), villanelles (19 lines), and sestinas (39 lines). But the GPT models also exhibit their own distinct stylistic tendencies, both within and outside of these specific forms. Our results show that GPT poetry is much more constrained and uniform than human poetry, showing a strong penchant for rhyme, quatrains (4-line stanzas), iambic meter, first-person plural perspectives (we, us, our), and specific vocabulary like "heart," "embrace," "echo," and "whisper."