The Vibe of History: When AI Rediscovers the Amanuensis
In February 2025, Andrej Karpathy, co-founder of OpenAI and former AI director at Tesla, posted something on X that would ripple through the tech world. “There's a new kind of coding I call 'vibe coding',” he wrote, “where you fully give in to the vibes, embrace exponentials, and forget that the code even exists.” Within weeks, the term had exploded across developer forums, appeared in the New York Times, and earned a spot in Merriam-Webster's trending slang. Over 4.5 million people viewed his post, many treating it as a revelation about the future of software development.
But here's the thing: Karpathy wasn't describing anything new at all.
Two thousand years ago, in the bustling cities of the Roman Empire, a similar scene played out daily. Wealthy citizens would stand in their homes, pacing as they composed letters, legal documents, and literary works. Seated nearby, stylus in hand, a skilled slave or freedperson would capture every word, translating spoken thought into written text. These were the amanuenses, from the Latin meaning “servant from the hand,” and they represented one of humanity's first attempts at externalising cognitive labour.
The parallels between ancient amanuenses and modern AI collaboration aren't just superficial; they reveal something profound about how humans have always sought to augment their creative and intellectual capabilities. More intriguingly, they expose our perpetual tendency to rebrand ancient practices with shiny new terminology whenever technology shifts, as if naming something makes it novel.
The Original Ghost Writers
Marcus Tullius Tiro knew his master's voice better than anyone. As Cicero's personal secretary from 103 BC until the orator's death, Tiro didn't just transcribe; he invented an entire system of shorthand, the notae Tironianae, specifically to capture Cicero's rapid-fire rhetoric. This wasn't mere stenography; it was the creation of a technological interface between human thought and written expression, one that would survive for over a thousand years.
The Romans took this seriously. Julius Caesar, according to contemporary accounts, would employ up to four secretaries simultaneously, dictating different documents to each in a stunning display of parallel processing that any modern CEO would envy. These weren't passive recording devices; they were active participants in the creative process. Upper-class Romans understood that using an amanuensis for official documents was perfectly acceptable, even expected, but personal letters to friends required one's own hand. The distinction reveals an ancient understanding of authenticity and authorial intent that we're still grappling with in the age of AI.
Consider the archaeological evidence: eleven Latin inscriptions from Rome identify women as scribes, including Hapate, a shorthand writer who lived to 25, and Corinna, a storeroom clerk and scribe. These weren't just copyists; they were knowledge workers, processing and shaping information in ways that required significant skill and judgement. The profession demanded not just literacy but the ability to understand context, intent, and nuance, much like modern AI systems attempting to parse human prompts.
The power dynamics were complex. While amanuenses were often slaves or freed slaves, their proximity to power and their role as information intermediaries gave them unusual influence. They knew secrets, shaped messages, and in some cases, like Tiro's, became trusted advisers and eventual freedmen. This wasn't just transcription; it was a collaborative relationship that blurred the lines between tool and partner.
The technology itself was sophisticated. Tiro's shorthand system, the notae Tironianae, contained over 4,000 symbols and could capture speech at natural speed. This wasn't simply abbreviation; it was a complete reimagining of how language could be encoded. Medieval scribes continued using variations of these notes well into the Middle Ages, a testament to their efficiency and elegance. The system was so effective that it influenced the development of modern stenography, creating a direct lineage from ancient Rome to contemporary courtroom reporters.
The Eastern Tradition of Mediated Creation
While Rome developed its amanuensis tradition, East Asia was creating its own sophisticated systems of collaborative writing. Chinese, Japanese, and Korean calligraphy traditions reveal a different but equally complex relationship between thought, mediation, and text.
In China, the practice of collaborative calligraphy dates back millennia. Scribes weren't just transcribers but artists whose brush strokes could elevate or diminish the power of words. The Four Treasures of the Study (ink brush, ink, paper, and inkstone) weren't just tools but sacred objects that mediated between human intention and written expression. When Buddhist monks copied sutras, they believed the act of transcription itself had purifying effects on the soul, transforming the scribe from mere copyist to spiritual participant.
The Japanese tradition, influenced by Chinese practices through Korean intermediaries like the scribe Wani in the 4th century CE, developed its own unique approach to mediated writing. The concept of kata, or form, meant that scribes weren't just reproducing text but embodying a tradition, each stroke a performance that connected the present writer to generations of predecessors. This wasn't just copying; it was a form of time travel, linking contemporary creators to ancient wisdom through the physical act of writing.
What's particularly relevant to our AI moment is how these Eastern traditions understood the relationship between tool and creator. The brush wasn't seen as separate from the calligrapher but as an extension of their body and spirit. Master calligraphers spoke of the brush “knowing” what to write, of characters “emerging” rather than being created. This philosophy, where the boundary between human and tool dissolves in the act of creation, sounds remarkably like Karpathy's description of “giving in to the vibes” and “forgetting the code exists.”
The Monastery as Tech Incubator
Fast forward to medieval Europe, where monasteries had become the Silicon Valley of manuscript production. The scriptorium, that dedicated writing room where monks laboured over illuminated manuscripts, represents one of history's most successful models of collaborative knowledge work. But calling it a “scriptorium” already involves a bit of historical romanticism; many monasteries simply had monks working in the library or their own cells, adapting spaces to needs rather than building dedicated facilities.
The process was surprisingly modern in its division of labour. One monk would prepare the parchment, another would copy the text, a third would add illuminations, and yet another would bind the finished product. This wasn't just efficiency; it was specialisation that allowed for expertise to develop in specific areas. By the High Middle Ages, this collaborative model had evolved beyond the monastery walls, with secular workshops producing manuscripts and professional scribes offering their services to anyone who could pay.
The parallels to modern software development are striking. Just as contemporary programmers work in teams with specialists handling different aspects of a project (backend, frontend, UI/UX, testing), medieval manuscript production relied on coordinated expertise. The lead scribe functioned much like a modern project manager, ensuring consistency across the work while managing the contributions of multiple specialists.
What's particularly fascinating is how these medieval knowledge workers handled errors and iterations. Manuscripts often contain marginalia where scribes commented on their work, complained about the cold, or even left messages for future readers. One famous note reads: “Now I've written the whole thing; for Christ's sake give me a drink.” These weren't just mechanical reproducers; they were humans engaged in creative, often frustrating work, negotiating between accuracy and efficiency, between faithful reproduction and innovative presentation.
The economic model of the scriptorium also mirrors modern tech companies in surprising ways. Monasteries competed for the best scribes, offering better working conditions and materials to attract talent. Skilled illuminators could command high prices for their work, creating an early gig economy. The tension between maintaining quality standards and meeting production deadlines will be familiar to any modern software development team.
The Churchill Method
Winston Churchill represents perhaps the most extreme example of human-mediated composition in the modern era. His relationship with his secretaries wasn't just collaborative; it was industrial in scale and revolutionary in method.
Churchill's system was unique: he preferred dictating directly to typists rather than having them take shorthand first, a practice that terrified his secretaries but dramatically increased his output. Elizabeth Nel, one of his personal secretaries, described the experience: “One used a noiseless typewriter, and as he finished dictating, one would hand over the Minute, letter or directive ready for signing, correct, unsmudged, complete.”
The technology mattered intensely. Churchill imported special Remington Noiseless Typewriters from America because he despised the clatter of regular machines. These typewriters, with their lower-pitched thudding rather than high-pitched clicking, created a sonic environment conducive to his creative process. All machines were set to double spacing to accommodate his heavy editing. The physical setup, where the secretary would type in real-time as Churchill paced and gestured, created a human-machine hybrid that could produce an enormous volume of high-quality prose.
Churchill's output was staggering: millions of words across books, articles, speeches, and correspondence. This wouldn't have been possible without what he called his “factory,” teams of secretaries working in shifts, some taking dictation at 8 AM in his bed, others working past 2 AM as he continued composing after dinner. The system allowed him to maintain multiple parallel projects, switching between them as inspiration struck, much like modern developers juggling multiple code repositories with AI assistance.
What's particularly instructive about Churchill's method is how it shaped his prose. The need to keep pace with typing created a distinctive rhythm in his writing, those rolling Churchillian periods that seem designed for oral delivery. The technology didn't just enable his writing; it shaped its very character, just as AI tools are beginning to shape the character of contemporary code.
The Literary Cyborgs
The relationship between John Milton and his daughters has become one of literature's most romanticised scenes of collaboration. Blinded by glaucoma at 44, Milton was determined to complete Paradise Lost. The popular imagination, fuelled by paintings from Delacroix to Munkácsy, depicts the blind poet dictating to his devoted daughters. The reality was far more complex and, in many ways, more interesting.
Milton's daughters, by various accounts, couldn't understand the Latin, Greek, and Hebrew their father often used. They were, in essence, human voice recorders, capturing sounds without processing meaning. Yet Milton also relied on friends, students, and visiting scholars, creating a distributed network of amanuenses that functioned like a biological cloud storage system. Each person who took dictation became part of the poem's creation, their handwriting and occasional errors becoming part of the manuscript tradition.
The process fundamentally shaped the work itself. Milton would compose passages in his head during sleepless nights, then pour them out to whoever was available to write in the morning. This batch processing approach created a distinctive rhythm in Paradise Lost, with its long, rolling periods that seem designed for oral delivery rather than silent reading. The technology, in this case, human scribes, shaped the art.
Henry James took this even further. Later in life, suffering from writer's cramp, he began dictating his novels to a secretary. Critics have noted a distinct change in his style post-dictation: sentences became longer, more elaborate, more conversational. The syntax loosened, parenthetical asides multiplied, and the prose took on the quality of refined speech rather than written text. James himself acknowledged this shift, suggesting that dictation had freed him from the “manual prison” of writing.
Fyodor Dostoyevsky's relationship with Anna Grigorievna, whom he hired to help complete The Gambler under a desperate contract deadline, evolved from professional to personal, but more importantly, from transcription to collaboration. Grigorievna didn't just take dictation; she became what Dostoyevsky called his “collaborator,” managing his finances, negotiating with publishers, and providing emotional support that enabled his creative work. This wasn't just amanuensis as tool but as partner, a distinction we're rediscovering with AI.
The Apostle and His Interface
Perhaps no historical example better illustrates the complex dynamics of mediated authorship than the relationship between Paul the Apostle and his scribe Tertius. In Romans 16:22, something unprecedented happens in ancient literature: the scribe breaks the fourth wall. “I, Tertius, who wrote this letter, greet you in the Lord,” he writes, momentarily stepping out from behind the curtain of invisible labour.
This single line reveals the sophisticated understanding ancient writers had of mediated composition. Paul regularly used scribes; of his fourteen letters, at least six explicitly involved secretaries. He would authenticate these letters with a personal signature, writing in Galatians 6:11, “See what large letters I use as I write to you with my own hand!” This wasn't just vanity; it was an early form of cryptographic authentication, ensuring readers that despite the mediated composition, the thoughts were genuinely Paul's.
The physical process itself was remarkably different from our modern conception of writing. Paul would have stood, gesticulating and pacing as he dictated, while Tertius sat with parchment balanced on his knee (writing desks weren't common). This embodied process of composition, where physical movement and oral expression combined to create text, suggests a different relationship to language than our keyboard-mediated present.
But Tertius wasn't just a passive recorder. The fact that he felt comfortable inserting his own greeting suggests a level of agency and participation in the creative process. Ancient scribes often had to make real-time decisions about spelling, punctuation, and even word choice when taking dictation. They were, in modern terms, edge computing devices, processing and refining input before committing it to the permanent record.
The Power of Naming
So why, given these centuries of human-mediated creation, did Karpathy's “vibe coding” strike such a chord? Why do we consistently create new terminology for practices that have existed for millennia?
The answer lies in what linguists call lexical innovation, our tendency to create new words when existing language fails to capture emerging conceptual spaces. Technology particularly accelerates this process. We don't just need new words for new things; we need new words for old things that feel different in new contexts.
“Vibe coding” isn't just dictation to a computer; it's a specific relationship where the human deliberately avoids examining the generated code, focusing instead on outcomes rather than process. It's defined not by what it does but by what the human doesn't do: review, understand, or take responsibility for the intermediate steps. This wilful ignorance, this “embracing exponentials and forgetting the code exists,” represents a fundamentally different philosophy of creation than traditional amanuensis relationships.
Or does it? Milton's daughters, remember, couldn't understand the languages they were transcribing. Medieval scribes copying Greek or Arabic texts often worked phonetically, reproducing symbols without comprehending meaning. Even Tiro, inventing his shorthand, was creating an abstraction layer between thought and text, symbols that required translation back into language.
The difference isn't in the practice but in the power dynamics. When humans served as amanuenses, the author maintained ultimate authority. They could review, revise, and reject. With AI, particularly in “vibe coding,” the human deliberately cedes this authority, trusting the machine's competence while acknowledging they may not understand its process. It's not just outsourcing labour; it's outsourcing comprehension.
The linguistic arms race around AI terminology reveals our anxiety about these shifting power dynamics. We've cycled through “AI assistant,” “copilot,” “pair programmer,” and now “vibe coding,” each term attempting to capture a slightly different relationship, a different distribution of agency and responsibility. The proliferation of terminology suggests we're still negotiating not just how to use these tools but how to think about them.
The Democratisation Delusion
One of the most seductive promises of AI collaboration is democratisation. Just as the printing press allegedly democratised reading, and the internet allegedly democratised publishing, AI coding tools promise to democratise software development. Anyone can be a programmer now, the narrative goes, just as anyone with a good idea could hire a scribe in ancient Rome.
But this narrative obscures crucial distinctions. Professional amanuenses were expensive, limiting access to the wealthy and powerful. Medieval monasteries controlled manuscript production, determining what texts were worth preserving and copying. Even in the 19th century, having a personal secretary was a mark of significant status and wealth.
The apparent democratisation of AI tools (ChatGPT, Claude, GitHub Copilot) masks new forms of gatekeeping. These tools require subscriptions, computational resources, and most importantly, the metacognitive skills to effectively prompt and evaluate outputs. According to Stack Overflow's 2024 Developer Survey, 63% of professional developers use AI in their development process, but this adoption isn't evenly distributed. It clusters in well-resourced companies and among developers who already have strong foundational skills.
Moreover, research from GitClear analysing 211 million lines of code found troubling trends: code refactoring dropped from 25% in 2021 to less than 10% in 2024, while copy-pasted code rose from 8.3% to 12.3%. The democratisation of code creation may be coming at the cost of code quality, creating technical debt that someone, eventually, will need the expertise to resolve.
The Creative Partner Paradox
The evolution from scribe to secretary to AI assistant reveals a fundamental tension in collaborative creation: the more capable our tools become, the more we struggle to maintain our sense of authorship and agency.
Consider Barbara McClintock, the geneticist who won the 1983 Nobel Prize. Early in her career, she worked as a research assistant, a position that, like the amanuensis, involved supporting others' work while developing her own insights. But McClintock faced discrimination that ancient amanuenses might have recognised: being asked to sit outside while men discussed her experimental results, being told women weren't considered for university positions, feeling unwelcome in academic spaces despite her contributions.
The parallel is instructive. Just as amanuenses possessed knowledge and skills that made them valuable yet vulnerable, modern humans working with AI face a similar dynamic. We provide the vision, context, and judgement that AI currently lacks, yet we increasingly depend on AI's computational power and pattern recognition capabilities. The question isn't who's in charge but whether that's even the right question to ask.
Modern creative agencies are already exploring these dynamics. Dentsu, the advertising giant, uses AI systems to generate initial concepts based on brand guidelines and market research, which human creatives then refine. This isn't replacement but collaboration, with each party contributing their strengths. Yet it raises questions about creative ownership that echo ancient debates about whether Paul or Tertius was the true author of Romans.
The Productivity Trap
GitHub reports that developers using Copilot are “up to 55% more productive at writing code” and experience “75% higher job satisfaction.” These metrics would have been familiar to any Roman employing an amanuensis or any Victorian author working with a secretary. The ability to externalise mechanical labour has always improved productivity and satisfaction for those who can afford it.
But productivity metrics hide complexity. When Henry James began dictating, his prose became more elaborate, not more efficient. Medieval manuscripts, despite their collaborative production model, took months or years to complete. The relationship between technological augmentation and genuine productivity has always been more nuanced than simple acceleration.
What's new is the speed of the feedback loop. An amanuensis might take hours to transcribe and copy a document; AI responds in milliseconds. This compression of time changes not just the pace of work but its fundamental nature. There's no pause for reflection, no natural break between thought and expression. The immediacy of AI response can create an illusion of productivity that masks deeper issues of quality, sustainability, and human development.
Research shows that junior developers using AI tools extensively may not develop the deep debugging and architectural skills that senior developers possess. They're productive in the short term but potentially limited in the long term. It's as if we're creating a generation of authors who can dictate but not write, who can generate but not craft.
The Language Game
The terminology we use shapes how we think about these relationships. “Amanuensis” carries connotations of service and subordination. “Secretary” implies administrative support. “Assistant” suggests help without agency. “Collaborator” implies partnership and shared creation. “Copilot” suggests navigation and support. “Vibe coding” implies intuition and flow.
Each term frames the relationship differently, privileging certain aspects while obscuring others. The Romans distinguished between scribes (professional copyists), amanuenses (personal secretaries), and notarii (shorthand specialists). We're developing similar taxonomies: AI pair programmers, code assistants, copilots, and now vibe coding. The proliferation of terms suggests we're still negotiating what these relationships mean.
The linguistic innovation serves a purpose beyond mere description. It helps us navigate the anxiety of technological change by making it feel novel and controllable. If we can name it, we can understand it. If we can understand it, we can master it. The irony is that by constantly renaming ancient practices, we lose the wisdom that historical perspective might offer.
The Monastery Model Redux
Perhaps the most instructive historical parallel isn't the individual amanuensis but the medieval scriptorium, that collaborative workspace where multiple specialists combined their expertise to create illuminated manuscripts. Modern software development, particularly in the age of AI assistance, increasingly resembles this model.
Just as medieval manuscripts required parchment makers, scribes, illuminators, and binders, modern software requires frontend developers, backend engineers, UI/UX designers, testers, DevOps specialists, and now, AI wranglers who specialise in prompt engineering and output evaluation. The division of labour has evolved, but the fundamental structure remains collaborative and specialised.
What's different is the speed and scale. A medieval monastery might produce a few dozen manuscripts per year; modern development teams push code continuously. Yet both systems face similar challenges: maintaining quality and consistency across distributed work, preserving knowledge through personnel changes, balancing innovation with tradition, and managing the tension between individual creativity and collective output.
The medieval solution was the development of strict standards and practices, house styles that ensured consistency across different scribes. Modern development teams use coding standards, design systems, and automated testing to achieve similar goals. AI adds a new layer to this standardisation, potentially homogenising code in ways that medieval abbots could only dream of.
The Authentication Problem
Paul's practice of adding a handwritten signature to his scribed letters reveals an ancient understanding of what we now call the authentication problem. How do we verify authorship when creation is mediated? How do we ensure authenticity when the actual production is outsourced?
This problem has only intensified with AI. When GitHub Copilot suggests code, who owns it? When ChatGPT helps write an article, who's the author? The U.S. Copyright Office has stated that works produced solely by AI without human authorship cannot be copyrighted, but the lines are blurry. If a human provides the prompt and selects from AI suggestions, is that sufficient authorship? If an amanuensis corrects grammar and spelling while transcribing, are they co-authors?
The medieval solution was the colophon, that end-note where scribes identified themselves and often added personal commentary. Modern version control systems like Git serve a similar function, tracking who contributed what to a codebase. But AI contributions complicate this audit trail. When a developer accepts an AI suggestion, Git records them as the author, obscuring the AI's role.
Some developers are experimenting with new attribution models, adding comments that credit AI assistance or maintaining separate documentation of AI-generated code. Others, embracing the “vibe coding” philosophy, explicitly reject such documentation, arguing that the human's role as curator and director is sufficient authorship. The debate echoes ancient discussions about whether Tiro was merely Cicero's tool or a collaborator deserving recognition.
The Skills Transfer Paradox
One of the most profound implications of AI collaboration is what happens to human skills when machines handle increasingly sophisticated tasks. The concern isn't new; Plato worried that writing would destroy memory, just as later critics worried that printing would destroy penmanship and calculators would destroy mental arithmetic.
The case of medieval scribes is instructive. While some worried that printing would eliminate the need for scribes, the technology actually created new opportunities for those who adapted. Scribes became printers, proofreaders, and editors. Their deep understanding of text and language translated into new contexts. The skills didn't disappear; they transformed.
Similarly, developers who deeply understand code architecture and debugging are finding new roles as AI supervisors, prompt engineers, and quality assurance specialists. The skills transfer, but only for those who possessed them in the first place. Junior developers who rely too heavily on AI from the start may never develop the foundational understanding necessary for this evolution.
This creates a potential bifurcation in the workforce. Those who learned to code before AI assistance may maintain advantages in debugging, architecture, and system design. Those who learn with AI from the start may be more productive in certain tasks but less capable when AI fails or when novel problems arise that aren't in the training data.
The Intimacy of Collaboration
What often gets lost in discussions of AI collaboration is the intimacy of the relationship. Tiro knew Cicero's rhythms, preferences, and quirks. Milton's amanuenses learned to anticipate his needs, preparing materials and creating conditions conducive to his creative process. Anna Grigorievna didn't just transcribe Dostoyevsky's words; she managed his life in ways that made his writing possible.
This intimacy is being replicated in human-AI relationships. Developers report developing preferences for specific AI models, learning their strengths and limitations, adapting their prompting style to get better results. They speak of AI assistants using personal pronouns, attributing personality and preference to what are ultimately statistical models.
The anthropomorphisation isn't necessarily problematic; it may be essential. Humans have always needed to relate to their tools as more than mere objects to use them effectively. The danger lies not in forming relationships with AI but in forgetting that these relationships are fundamentally different from human ones. An AI can't be loyal or betrayed, can't grow tired or inspired, can't share in the joy of creation or the frustration of failure.
Yet perhaps that's exactly what makes them useful. The amanuensis who doesn't judge, doesn't tire, doesn't gossip about what they've transcribed, offers a kind of freedom that human collaboration can't provide. The question is whether we can maintain the benefits of this relationship without losing the human capacities it's meant to augment.
The New Scriptoriums
As we navigate this latest iteration of human-machine collaboration, we might benefit from thinking less about individual relationships (human and AI) and more about systems and environments. The medieval scriptorium wasn't just about individual scribes; it was about creating conditions where collaborative knowledge work could flourish.
Modern organisations are building their own versions of scriptoriums: spaces where humans and AI work together productively. These aren't just technological infrastructures but social and cultural ones. They require new norms about attribution and ownership, new practices for quality assurance and verification, new skills for managing and evaluating AI output, and new ethical frameworks for responsible use.
The most successful organisations aren't those that simply adopt AI tools but those that thoughtfully integrate them into existing workflows while preserving human expertise and judgement. They're creating hybrid systems that leverage the strengths of both human and machine intelligence while acknowledging the limitations of each.
Some companies are experimenting with “AI guilds,” groups of developers who specialise in working with AI tools and training others in their use. Others are creating new roles like “AI auditors” who review AI-generated code for security vulnerabilities and architectural coherence. These emerging structures echo the specialised roles that developed in medieval scriptoriums, suggesting that history doesn't repeat but it does rhyme.
The Eternal Return
The story of the amanuensis, from ancient Rome to modern AI, isn't a linear progression but a spiral. We keep returning to the same fundamental questions about authorship, authenticity, and agency, each time with new technology that seems to change everything while changing nothing fundamental.
When Karpathy coined “vibe coding,” he wasn't describing a radical break with the past but the latest iteration of an ancient practice. Humans have always sought to externalise cognitive labour, to find ways to translate thought into action without getting bogged down in mechanical details. The amanuensis, the secretary, the IDE, the AI assistant; these are all attempts to bridge the gap between intention and execution.
What's genuinely new isn't the practice but the speed, scale, and sophistication of our tools. An AI can generate more code in a second than a medieval scribe could copy in a week. But more isn't always better, and faster isn't always progress. The wisdom embedded in historical practices, the importance of review and reflection, the value of deep understanding, the necessity of human judgement, remains relevant even as our tools evolve.
As we embrace AI collaboration, we might benefit from remembering that every generation thinks it's invented something unprecedented, only to discover they're rehearsing ancient patterns. The Romans thought writing would replace memory. Medieval scholars thought printing would destroy scholarship. Every generation fears that its tools will somehow diminish human capacity while simultaneously celebrating the liberation they provide.
The truth, as always, is more complex. Tools don't replace human capabilities; they redirect them. The scribes who adapted to printing became the foundation of the publishing industry. The secretaries who adapted to word processing became information workers. Those who adapt to AI collaboration won't become obsolete; they'll become something we don't yet have a name for.
Perhaps that's why we keep inventing new terms like “vibe coding.” Not because the practice is new, but because we're still figuring out what it means to be human in partnership with increasingly capable machines. The amanuensis may be ancient history, but the questions it raises about creativity, authorship, and human agency are more relevant than ever.
In the end, what has always mattered is not the tool but the human presence shaping it. What changes is not our drive to extend ourselves but the forms through which that drive is expressed. In that recognition, that every technology is a mirror of human intention, lies both the wisdom of the past and the promise of the future. Whether we call it amanuensis, secretary, copilot, or vibe coding, the fundamental need to amplify thought through collaboration remains constant. The tools evolve, the terminology shifts, but it is always us reaching outward, seeking connection, creation, and meaning through whatever interfaces we can devise.
Tim Green UK-based Systems Theorist & Independent Technology Writer
Tim explores the intersections of artificial intelligence, decentralised cognition, and posthuman ethics. His work, published at smarterarticles.co.uk, challenges dominant narratives of technological progress while proposing interdisciplinary frameworks for collective intelligence and digital stewardship.
His writing has been featured on Ground News and shared by independent researchers across both academic and technological communities.
ORCID: 0009-0002-0156-9795 Email: tim@smarterarticles.co.uk