Gardens of misery and perfection: introducing an annotated bibliography
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 Notes 1. (Philadelphia: University of Pennsylvania Press, 2004). 2. My general contention that fictional gardens shadow our understanding of real gardens owes much to the inspiration of Gina Crandell, who explains how the developments of the visual arts changed forever the way we experience real landscapes in Nature Pictorialized: ‘The View’ in Landscape History (Baltimore: The Johns Hopkins University Press, 1993). Crandell shows how culture influences our perceptions of landscape as much as the survival-driven determinants considered by such texts as Jay Appleton's Experience of Landscape, rev. ed. (New York: John Wiley & Sons, 1996) or the functional considerations addressed by almost any office-generated project description. 3. (New York: Penguin, 2003), p. 37. 4. Scott Elledge further explicates Milton's description of Paradise in the second Norton Critical Edition (New York: W. W. Norton, 1993), p. 472. This edition includes Frank Kermode's essay, ‘Adam Unparadised’, which discusses Milton's sources for the Garden of Eden. Quotations are from Elledge's edition. 5. Ibid., p. 599. 6. The Return of Eden: Five Essays on Milton's Epics (Toronto: University of Toronto Press, 1965), p. 41. Frye points out that: • Milton always externalizes evil and internalizes good (p. 109); • the Miltonian paradise is Arcadian and pastoral, not Utopian and historical, that is, not a social construct where man can live a better life (p. 114); and • the goal of mankind is the recovery of identity, ‘not the feeling that I am myself and not another, but the realization that there is only one man, one mind, and one world’ (p. 143). 7. (New York: Penguin, 1998), p. 12. 8. For the terrible consequences of this garden rendezvous, see Maud in Alfred Lord Tennyson, Selected Poems (London: Penguin Books, 1991), pp. 231ff. 9. See Hugh Haughton, introduction, Carroll, pp. lxxvi ff. 10. A Whistling Woman (New York: A. A. Knopf, 2002), pp. 139–140. 11. The Virgin in the Garden (New York: Vintage, 1992), p. 128. 12. Still Life (New York: Simon & Schuster, 1996), p. 9. 13. Babel Tower (New York: Random House, 1997), p. 522.
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 | 0.001 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.000 |
| Science and technology studies | 0.000 | 0.001 |
| Scholarly communication | 0.000 | 0.000 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.000 | 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