Bibliographic record
Abstract
Tolstoy's relations with music – the least mediated of the temporal arts, and thus for him the most potent – were reverent, wary, and on occasion punitive. He was fascinated by the force of music, just as he was by the force of sexuality, beauty, and war. By “force” Tolstoy did not mean violence or disruption, but the power to organize, suddenly and irresistibly, all our scattered actions and feelings into a coherent meaningful whole. Thus focused in its energies, the human organism would fear nothing, not even its own mortality. But since this heightened condition lent itself equally well to sublime insight and to irrational acts, it had to be carefully watched. Furthermore, music, being neither an instinct nor a force of nature but the product of creative human striving, obligated its practitioners to positive deeds as our more animal sides did not. The intensely receptive and aesthetically arousable Tolstoy worked hard at the piano as a young man, and he continued to revere music long after he had abjured war, sex, and beauty. Everything he wanted to accomplish through words happened faster and more purely through music. These fundamentally Romantic priorities manifested themselves early. In a diary entry from November 1851, the 23-year-old Tolstoy charted the fine arts according to their ability to act on the imagination. The realm of visual art or painting is space, where we realize an image of nature. The realm of music is harmony and time, where we realize feelings.
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 machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.000 | 0.001 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.003 | 0.008 |
| Scholarly communication | 0.003 | 0.002 |
| Open science | 0.000 | 0.002 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.015 | 0.002 |
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 source (direct Gemma or distilled Codex), 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".