Bibliographic record
Abstract
[...] The colonel returned with a sack used to bring groceries home. He spilled many human ears on the table. They were like dried peach halves. There is no other way to say this. He took one of them in his hands, shook it in our faces, dropped it into a water glass. It came alive there. I am tired of fooling around he said. As for the rights of anyone, tell your people they can go fuck them-selves. He swept the ears to the floor with his arm and held the last of his wine in the air. Something for your poetry, no? he said. Some of the ears on the floor caught this scrap of his voice. Some of the ears on the floor were pressed to the ground. May 1978 (Forché, 1981, p. 15) Introduction The opening quote from Carolyn Forché’s documentary poem The Colonel , drawn from her experiences in El Salvador in the late 1970s, confronts us with the terror and absurdity of mass atrocities. Living in the aftermath of war, with perpetrators still in power and only a fragile order restored, how can memory contain the horror and the loss? Must survivors turn away from the past in order to survive? And if silence is required for survival, what becomes of the history needed to provide a moral compass and guide efforts to rebuild a just society? Ears pressed to the ground, can the dead and dismembered hear stories the living are compelled to forget? The violence described in the essays in this volume is massive not just in its scale or scope – with large numbers of people or whole populations facing terror, injury, loss, and death – but also in its effects, tearing down social structures and rending the fabric of communities, peoples, or nations. As such, the remainders of violence can be seen at the levels of body, self, and society. The responses at each level have their own dynamics, involving physiological, psychological, and social processes that range from the intimate sphere of family systems to the wider arenas of neighborhood, community, nation, and the international networks of global society. These systems are deeply interconnected and we need interdisciplinary perspectives to trace the effects up and down these levels.
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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 | 0.001 | 0.002 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.008 | 0.018 |
| Scholarly communication | 0.005 | 0.007 |
| Open science | 0.001 | 0.003 |
| Research integrity | 0.001 | 0.004 |
| Insufficient payload (model declined to judge) | 0.026 | 0.005 |
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".