Bibliographic record
Abstract
At twilight the sky in Santorini takes on a particular hue of blue so deep and translucent that I somehow have the impression I can see its infiniteness. The blue hour is enchanting. The white walls of the Pension Carlos nestle into that blue sky, and a soft, warm breeze embraces it all. It is peacefully quiet. I am home. Not in any of my autobiographical homes, but home nonetheless. Sitting on the patio swing, I breathe the moment in and am filled with a fluttering sense of possibility. In a few days the event my father and I have been planning for over a year will begin, and although I can feel the excitement coursing through me, I am also completely at ease; at ease because I trust that Santorini is the perfect place to host what is now to come. But why Santorini?! Thousands upon thousands of tourists, packaged and transported to the island each summer, people you would rather not meet back in Peoria or Winnipeg much less on a Cycladic isle, would surely be enough to keep you away. Why, then, Santorini for the Voice Symposium in July 2009? As a creative producer, I have learned how crucial the location of an event can be. It would be critical for the work that we were setting out to do--which (at the planning point) had not been defined beyond a gathering (and hopefully a genuine coming together) of actors and philosophers around the subject of the voice and Kristin Linklater's work--to find a space that would support our endeavour. We would need somewhere that could provide focus, support, space, time, nourishment, relaxation, quiet, and inspiration. We would need to work in a place that had relevance, that inspired the senses as well as the mind, and that provided a strong sense of community. We would need to be somewhere that would support creativity, play, noise, chaos, and collaboration. I was certain that Santorini (and the Pension Carlos) would supply all of that for us--and more. Santorini holds special relevance in that Greece is hailed as the birthplace of both philosophy and theatre. How fitting, then, that we should have a meeting between those two worlds in this historically rich place. It would be meaningful to the serious philosopher and the committed actor to stand on the history of his or her profession. Furthermore, when planning anything of value, personal relevance is key: Santorini is a place with which my father and I are deeply connected. Perhaps there was something about the energy in Santorini that enhanced the connection between actor and philosopher as much as between father and daughter? Additionally, the artist in me knew that with such a relatively short period of time to work, and with such a meaningful task ahead, we would need to work in a deeply concentrated manner. The simplest and most effective way to accomplish this would be to take people out of their everyday lives. It was imperative, in fact, for this collaboration to be successful, that we create the kind of openness and relaxation that is often attained only while on vacation; and although this would clearly be a working vacation, it was important to have all the supportive vacation elements in place. We could count on the energy and beauty of Santorini to support our project and on the Pension Carlos to become a home away from home for all the participants. Perhaps most simply, however, I knew that Santorini would be an easy place to entice people to come to! We were asking people to take a leap of faith and to join us on an adventure into the unknown. It was important, at the very least, to guarantee a spectacular setting, excellent food, and wonderful company. The beauty of Santorini and the strength of the elements there are incredibly inspiring. Creativity simply flows there. There is inspiration everywhere you turn, from the widest horizon, to the most breathtaking sunset, to the largest boulder of volcanic ash, to the brightest little flower--the sun, the moon, the zillions of stars, the blue, blue sea, and the endless sky. …
Fetched live from OpenAlex and de-inverted. Abstracts are not stored in this database: the inverted indexes are 8.6 GB of the frame’s 9.3 GB of text, and the host has 13 GB free.
How this classification was reachedexpand
Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.000 | 0.000 |
| Scholarly communication | 0.000 | 0.000 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.001 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one teacher head, not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".