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
Click to increase image sizeClick to decrease image size Notes1. The Special Issue editors would like to express their gratitude to all the academic authors who have contributed articles to this Special Issue of Contemporary Theatre Review, and to Dominic Cooke, Andrew Haydon, Roald van Oosten and Sam Walters for their generous responses. We are also very grateful to Dominic Johnson for his insightful editorial guidance, as well as to Maria Delgado and Aoife Monks for their support.2. Aleks Sierz, The Theatre of Martin Crimp (London: Methuen, 2006) and Vicky Angelaki The Plays of Martin Crimp: Making Theatre Strange (Basingstoke and New York: Palgrave Macmillan, 2012).3. For a discussion of Crimp’s plays in Australia, see Vicky Angelaki, ‘Martin Crimp and Border Crossing: The Australian Turn’, Contemporary Theatre Review 21.4 (2011), 544-46. While there have been productions of Crimp’s plays in the US and Canada, the number pales in comparison to the attention his work has received in Europe and Australia. This is not uncommon when we compare Crimp to other contemporary playwrights based in the UK, whose work has also found a notably bigger audience in Europe than it has in the US, even in a context where it is mostly presented in translation.4. Martin Crimp, ‘When the Actor Pulls Out’, in Four Unwelcome Thoughts, in Plays Two (London: Faber and Faber, 2005), pp. vii-xiv (pp. vii-viii); the text for ‘Acceleration’ forms part of the published playtext of In the Republic of Happiness (London: Faber and Faber, 2012), p. 46.5. Nübling has directed a number of plays by Stephens in German-speaking Europe as well as for international theatre festivals and touring productions. His collaborations with Stephens on Pornography Pornografie, (2007), Three Kingdoms (2011) and, more recently, Carmen Disruption (2014) were instrumental to a working pattern that involved director and playwright developing the new project together. In all these cases, the product of the collaboration received its premiere production outside of the UK.
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 | 0.000 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.002 | 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