Notice bibliographique
Résumé
['I]f something is constructed, then it means it is fragile, and thus in great need of care and caution.' Bruno Latour, ‘Why Has Critique Run out of Steam?’ (2004: 246) 'What if the invention of writing and its stabilization in print were not the single most important turning points in communication history, but only one of many technological turning points? What if scholars—whose lives’ work is dedicated to the written word—have overestimated its world-historical importance?' Jonathan Sterne, ‘The Theology of Sound: A Critique of Orality’ (2011: 221) 'Calling for a theory (or, more pluralistically, theories) of the sonic ought to acknowledge the terminological misfit, at least in etymological terms: sound objects are not contemplated at all, they are apprehended in ways other than the visual – the very framework and rhetorical resonances of ‘theory’ are potentially misleading and inadequate – and that theory itself must also proceed otherwise, with sound.' James A. Steintrager and Rey Chow, Sound Objects (2019: 6) There isn’t a single definitive way of introducing the body of work that we are presenting to you at this point in time. Rather, this first ‘batch’ or ‘issue’ or ‘chapter’ – as we have variously referred to it – represents an illustrative cross-section of themes, topics, ideas and fruits of our labour following a six-month period of careful collating during the spring and summer of 2020. It might be possible, perhaps, to unite our selection here under the umbrella of emergent methodologies in as far as methodology might entail considerations of ways of working, performance-making, creative innovation, research protocols, as well as methodologies of survival during the pandemic. Covid–19 has turned this project into an improvisation and imposed upon it fluidity, surprise and the dispersed logic of a dream. As researchers we have often been led to simply trust the flow and hope that it will all make sense in the end. One way in which the methodological approach of this project crystallises itself is the emphasis on oral/aural research methodologies, which in this case entails new slants on the conventional forms of interview and dialogue, as well as the new methods pioneered by this project – oral introductions to academic books, and tours of the artists’ desktops and file archives. As we harvest our insights and findings, we are getting closer to the sense of clarity, and with our initial selection of materials we hope to provide here for you a map of some co-ordinates, parameters and interstices of our multi-faceted field of research. This is the first of five offerings we will share with you between now and late February 2021. The next four will follow on a weekly basis in the new year. Please feel free to dip in, dive in or sample, and do let us know what you think, or pass on to friends and interested others. Duška Radosavljević and Flora Pitrolo October 2020 Works Cited Latour, Bruno (2004) ‘Why Has Critique Run out of Steam? From Matters of Fact to Matters of Concern’, Critical Inquiry, 30:2, pp. 225-48. Sterne, Jonathan (2011) ‘The Theology of Sound: A Critique of Orality’, Canadian Journal of Communication, Vol 36, pp. 207-225. Steintrager, James A. & Chow, Rey (2019) Sound Objects, London and Durham: Duke University Press.
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 | 0,001 | 0,007 |
| Méta-épidémiologie (sens strict) | 0,001 | 0,000 |
| Méta-épidémiologie (sens large) | 0,001 | 0,001 |
| Bibliométrie | 0,001 | 0,001 |
| Études des sciences et des technologies | 0,005 | 0,002 |
| Communication savante | 0,009 | 0,009 |
| Science ouverte | 0,001 | 0,008 |
| Intégrité de la recherche | 0,004 | 0,006 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,660 | 0,474 |
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 ».