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
THIS JOINT ARTICLE describes the goals of the Records of Early English Drama (REED) Patrons, Performances and Playing Places Multimedia Research Tool, a project sustained by a grant, which we gratefully acknowledge, from the Social Sciences and Humanities Research Council of Canada. (1) The reader should visit our website, at http://eir.library.utoronto.ca/reed/, which has samples (for Lancashire, our pilot county) of some of the components that we plan to include in the project's final design. It will be a flexible, web-based interdisciplinary tool for teaching and research, which will make available for the first time our cumulative database of itinerary, patrons, and performance information for professional entertainment activities (except for those undertaken in London theaters or at court) before 1642. The microcomputer revolution (ever faster, higher-capacity, lower-priced) and the accompanying development of the media-rich, hyperlinked Internet are essential to the project. Since the mid-1980s, REED has maintained databases to abstract, from its successive volumes, all information about professional performances. The volumes contain a wealth of detailed information about provincial entertainment, but retrieving and analyzing information from across the counties and boroughs can be a tedious process of moving from index to index, page to page. This is the kind of work that a database can complete in microseconds; the powers of analysis and comparison that become available to a researcher allow one to transcend space and time. A database, on the face of it, is the dullest thing in the world, simply a structured collection of systematic information, arranged in rows and columns, and related within itself in various ways. However, the more that a database is developed and analyzed, the more varied and intriguing are the questions one may ask of it. As we have worked with and developed the capacities of the databases, we've been increasingly struck by the analogy between provincial performance data and the nature of the Internet itself. This is one reason why we are planning to make our project freely available on the Internet as a website, updated whenever necessary (in response to users' suggestions, or for corrections) and augmented upon publication of each new REED volume. We hope that this will make the research most widely available, as an adjunct to the REED project as it continues towards completion. Like the Internet, provincial performance activities can be surveyed in multiple ways, but they are essentially an unstructured of often unrelated, often spontaneous playing, a of patronage-relationships, audience expectations, tour routes, civic sponsorships, and the like, which made possible the flourishing of the touring professional theater. This of activities was carefully nurtured over time. One can see this web graphically represented on the maps that accompany, the website (to be described later). We've attempted, in our design, to allow the user to start from any place on the site; one can work from any locality, any chronological starting point, any type of activity, and from there one can create multiple directions of user-constructed enquiry. Of course (and paradoxically) this capacity for serendipity results from careful overall design, and from attempting to anticipate the sorts of enquiries that users will want to construct. The first part of this essay discusses the overall design, and looks at some of the information that is forthcoming from the database tables themselves (necessarily incomplete at this point, containing about four thousand records). In the second part we look at maps, along with visual and architectural information relevant for the study of performance spaces, the venues used by these entertainers. The databases have three main components: (1) a database of records; (2) a database of patrons; and (3) a database of localities and venues (including their images, described below). …
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) | 0.001 | 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