Notice bibliographique
Résumé
THIS JOINT ARTICLE describes the goals of the Records of Early English Drama (REED) Patrons, Performances and Playing Places Multimedia Research Tool, a project sustained by a grant, which we gratefully acknowledge, from the Social Sciences and Humanities Research Council of Canada. (1) The reader should visit our website, at http://eir.library.utoronto.ca/reed/, which has samples (for Lancashire, our pilot county) of some of the components that we plan to include in the project's final design. It will be a flexible, web-based interdisciplinary tool for teaching and research, which will make available for the first time our cumulative database of itinerary, patrons, and performance information for professional entertainment activities (except for those undertaken in London theaters or at court) before 1642. The microcomputer revolution (ever faster, higher-capacity, lower-priced) and the accompanying development of the media-rich, hyperlinked Internet are essential to the project. Since the mid-1980s, REED has maintained databases to abstract, from its successive volumes, all information about professional performances. The volumes contain a wealth of detailed information about provincial entertainment, but retrieving and analyzing information from across the counties and boroughs can be a tedious process of moving from index to index, page to page. This is the kind of work that a database can complete in microseconds; the powers of analysis and comparison that become available to a researcher allow one to transcend space and time. A database, on the face of it, is the dullest thing in the world, simply a structured collection of systematic information, arranged in rows and columns, and related within itself in various ways. However, the more that a database is developed and analyzed, the more varied and intriguing are the questions one may ask of it. As we have worked with and developed the capacities of the databases, we've been increasingly struck by the analogy between provincial performance data and the nature of the Internet itself. This is one reason why we are planning to make our project freely available on the Internet as a website, updated whenever necessary (in response to users' suggestions, or for corrections) and augmented upon publication of each new REED volume. We hope that this will make the research most widely available, as an adjunct to the REED project as it continues towards completion. Like the Internet, provincial performance activities can be surveyed in multiple ways, but they are essentially an unstructured of often unrelated, often spontaneous playing, a of patronage-relationships, audience expectations, tour routes, civic sponsorships, and the like, which made possible the flourishing of the touring professional theater. This of activities was carefully nurtured over time. One can see this web graphically represented on the maps that accompany, the website (to be described later). We've attempted, in our design, to allow the user to start from any place on the site; one can work from any locality, any chronological starting point, any type of activity, and from there one can create multiple directions of user-constructed enquiry. Of course (and paradoxically) this capacity for serendipity results from careful overall design, and from attempting to anticipate the sorts of enquiries that users will want to construct. The first part of this essay discusses the overall design, and looks at some of the information that is forthcoming from the database tables themselves (necessarily incomplete at this point, containing about four thousand records). In the second part we look at maps, along with visual and architectural information relevant for the study of performance spaces, the venues used by these entertainers. The databases have three main components: (1) a database of records; (2) a database of patrons; and (3) a database of localities and venues (including their images, described below). …
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Comment cette classification a été obtenuedéplier
Prédiction machine sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Le volet Gemma est une étiquette directe du modèle pour chaque travail de la base, lue sur la notice réduite au titre. Le volet Codex est un classifieur appris des 10 348 étiquettes directes de Codex et calibré sur les taux pondérés de l'échantillon; les champs sans appui suffisant ne portent aucun appel Codex. Le mode candidate est l'union des deux volets; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont pas des étiquettes humaines.
Scores du classifieur distillé par catégorie (deux têtes)
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,002 | 0,003 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,002 | 0,002 |
| Études des sciences et des technologies | 0,004 | 0,013 |
| Communication savante | 0,016 | 0,019 |
| Science ouverte | 0,001 | 0,010 |
| Intégrité de la recherche | 0,002 | 0,003 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,032 | 0,003 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule source (Gemma direct ou Codex distillé), pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».