Bibliographic record
Abstract
We live in a culture that readily and pervasively privileges the eye over the ear. Architecture is regarded increasingly as picturesque images by spectators at distance and in isolation. Building starts to lose their plasticity and the close connection with the language and wisdom of the body. However, every touching experience of architecture is multi-sensory. Therefore, architecture involves seven realms of sensory experiences which interact and infuse each other in a continuum. The thesis attempts to locate at the aural realm as a theoretical departure point and to explore ways of counterbalancing the unconscious tendency concerning retinal dominance. It is intended to recapture the fading sensuality, tactility and embodied essence of architecture. The study of audible space corresponds to one specific perceptual phenomenon as the starting point. This is not intended slightly to undermine the reality mat in architectural synthesis, different sensory categories overlap. The experiment attempts to explore and reinstate the relationship between architecture and sound. It seeks to trace for the seams which tie together their adjacencies and to overhear the different mutations of visual sound and acoustical space. Concepts and methodologies that signify the role of sound in architectural and environmental design will be investigated. The project, hypothetically the extension of the Orpheum Theater, will serve as the vehicle for the petrifying the theoretical investigation.. The project attempts to discover room and potential for improvements between the conflicting forces. The locale's charm lies in its specificity and complexity as an enduring historical local musical precinct, a neighborhood of depopulated and deteriorating street life. The study at this particular locale also tries to scrutinize the architectural relationship between the old and new and the possible regain of eminent public activities in public spaces resultant from inappropriate urban planning strategy.
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 | 0.033 | 0.006 |
| Scholarly communication | 0.005 | 0.001 |
| Open science | 0.001 | 0.006 |
| Research integrity | 0.002 | 0.003 |
| Insufficient payload (model declined to judge) | 0.010 | 0.001 |
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".