Bibliographic record
Abstract
The Spectacle of the Siege I.War, this chapter argues, is a store of aesthetic possibility.From the spectacle of warfare to the intricate ruins of destroyed buildings, besieged Sarajevo inspires creative pleasure among authors and filmmakers who mould physical destruction into parcels of poetic or cinematic lyricism.In his prose and poetry collection Sarajevo blues, Semezdin Mehmedinovic ´ (born 1960) lets the war be the muse that helps him come of age as a poet -but in doing so, he questions the principles behind this symbiosis of war as art, as beauty, as artistic fulfilment.This transforms Sarajevo blues into a crucible in which the amorality or immorality of art is tested against the value of human life.Mehmedinovic ´'s slim volume is first and foremost "a poetics of testament" 1 written throughout the siege.The collection's short entries are laid out in an encyclopedic manner with titles that comprise many recognizable signifiers of the siege, from the masculine romanticism of the Bosnian "Drina" cigarette to the social critique of "War profiteer" and the poignancy of "Washing the dead."This idea of inventory as chronicle is duplicated in "Letter from Sarajevo," a piece by journalist Ozren Kebo that was published towards the end of the siege: "there are concepts which will not for a while yet lose their magic: gas, electricity, water, lentils, rice, sniper, can, cigarette, grenade, firing, detonation, chetnik, cunt, sea, UN, Security Council, America, Canada, Australia, tunnel, death." 2 Whereas Kebo lists the items that are to form the lexicon of the siege, Sarajevo blues provides the definition to these facts of everyday life.The entries of Sarajevo blues are predominantly about material survival but also include those that focus on existential and spiritual concerns to which the conditions give rise (such as "Religiosity" and "Loss").
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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 | 0.011 | 0.013 |
| Scholarly communication | 0.010 | 0.007 |
| Open science | 0.001 | 0.005 |
| Research integrity | 0.002 | 0.005 |
| Insufficient payload (model declined to judge) | 0.015 | 0.003 |
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".