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Record W3032734203 · doi:10.7202/1069081ar

Art sonore ou art d’écouter ?

2020· article· fr· W3032734203 on OpenAlex

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.

venuePublished in a venue whose home country is Canada.
no affNo Canadian affiliation: this work is invisible to an affiliation-only frame.
No Canadian affiliation. An affiliation-only frame, the usual design, would never have seen this work. It is one of the works that make the case for inverting the frame.

Bibliographic record

VenueCircuit Musiques contemporaines · 2020
Typearticle
Languagefr
FieldArts and Humanities
TopicVisual Culture and Art Theory
Canadian institutionsnot available
Fundersnot available
KeywordsHumanitiesArt

Abstract

fetched live from OpenAlex

Depuis son avènement au début des années 1980, la notion d’« art sonore » peine à trouver une définition stable. Le flou qui l’entoure n’empêche qu’on y ait souvent recours dans le domaine des arts plastiques, où elle souligne la place prépondérante du son dans la construction d’une oeuvre d’art. Ce texte propose de relever les problèmes inhérents à cette notion en revenant sur deux grandes expositions associées à son émergence ( Für Augen und Ohren : Objekte, Installationen, Performance [Berlin] et Écouter par les yeux : objets et environnements sonores [Paris]) et sur le débat qui s’ensuivit, avec lequel s’affirme la possibilité de retenir, pour les arts plastiques, non plus des objets sonores mais des manières d’écouter. Reste encore à apprécier les effets théoriques et pratiques de ce changement de paradigme et à pointer ses enjeux esthétiques et politiques. Une ouverture à l’histoire des techniques sonores, étudiée par les Sound Studies , comme aux relations de l’écoute à l’action, analysée par les études éthologiques, pourra, dès lors, s’avérer utile.

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 imitation

Not 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.

metaresearch head score (Codex)0.000
metaresearch head score (Gemma)0.000
Version: codex-gemma-dda1882f352aValidation status: machine_predicted_unvalidated
Candidate categoriesMeta-epidemiology (narrow), Insufficient payload (model declined to judge)
Consensus categoriesInsufficient payload (model declined to judge)
DomainCandidate signal: none · Consensus signal: none
Study designCandidate signal: Not applicable · Consensus signal: none
GenreCandidate signal: Other · Consensus signal: Other
Teacher disagreement score0.567
Threshold uncertainty score1.000

Codex and Gemma teacher scores by category

CategoryCodexGemma
Metaresearch0.0000.000
Meta-epidemiology (narrow)0.0010.001
Meta-epidemiology (broad)0.0010.000
Bibliometrics0.0000.000
Science and technology studies0.0010.001
Scholarly communication0.0010.001
Open science0.0000.000
Research integrity0.0000.001
Insufficient payload (model declined to judge)0.0100.009

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.

Opus teacher head0.080
GPT teacher head0.261
Teacher spread0.181 · how far apart the two teachers sit on this one work
Validation statusscore_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from it