Why this work is in the frame
A frame that forgets how it found something cannot be audited. These are the routes that admitted this work.
Bibliographic record
Abstract
Date: Saturday, 19 March 2005 Time: 12:32 PM Site: Tate Modern Materials: Two paper cups of coffee (one black and one white), two metal chairs, one medium-sized square table, atmospheric noise (din, espresso machine), a range of windows and doors, an exhibition of mixed-media work by Joseph Beuys, some minutes, conversation. And the quality itself? It's okay. You get a lot of atmosphere, but when I've done recordings of plain speech they've come out clear. Nothing picks up. So I had been reading John Clare in a very beginning kind of way, and was starting to become familiar with his work. And when I was interviewed for this Cambridge fellowship I had to describe a project. I said something about John Clare and meter. I actually didn't really know what I was going to do. It's like applying for a grant. You have to be able to describe a project ... From the very beginning. As if you know how you're going to do something! So anyways, my only idea--once I actually got the job and arrived there--was that I should do something that pertained to the place where I was. And I had access to the library and the rare book room. It would be stupid, for example, to spend my time reading English translations of post-structuralism. Something I could read anywhere. So I thought I should form a kind of reading-research project that was particular to where I was, that I wouldn't have had the opportunity to do otherwise. I didn't actually know what it was going to be, but I was already interested in the transition from a sort of neo-classical into a romantic cultural paradigm. So I was beginning to read around this cultural nexus, its literary and cultural history. I arrived in Cambridge with a very loose constellation of ideas. I was also very interested in the idea of sincerity as it arose as a romantic paradigm, being so different from neo-classical irony and rhetoric. It is so different ... Totally! So I became interested in the idea of sincerity as a problem. And these were the ideas that were circulating, the sorts of--you know--irritants that were circulating. And once I arrived, and was feeling very culturally weird, and very estranged from the situation I was living in--well, you listen very carefully so you can learn how to fit in somewhere, and you try to understand how to conduct yourself. I'm sure you experienced similar things. Definitely. And I thought I had to go to fellow's lunch every day and things like this. When I was in Cambridge I went to one dinner at my college, the first dinner, and I had to borrow a proper gown. Someone told me that the design of the sleeves was meant to indicate your level of study ... A hierarchy. Exactly. I remember at the end of the dinner we had tea and coffee and a man sitting across from me actually reclined in his chair, took a sip of coffee and said poshly, isn't it lovely to have a civilized meal every once and a while? I froze, looked at him and thought, what!? and pretty much vowed that was it for me. I felt similarly, but I felt I was required to do it as part of the protocol of my fellowship. And I suppose I could have ignored it all, but like a lot of Canadian girls I was very anxious to be polite. Anyway, I noticed right away that everybody talked about the weather all the time. I always thought Canadians spoke about the weather more than anyone else in the world. Well I felt it differently in England. And so I just sort of ... with friends out drinking one night I was generally outlining my feelings of cultural weirdness, and I told them I was going to write a book about the weather. And then that actually became the project, because right away everyone started giving me citations like the BBC ... shipping news. I listen to the shipping news here late at night--it's very soothing. Geoff Gilbert told me the shipping news was better than Olson. …
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.
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 | 0.000 | 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 | 0.001 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.013 | 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 it