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
Premiere: White Concert Hall, University of Missouri-Kansas City: April 4, 2001. \n \nPublished: On La Limite du bruit (solo CD). Montreal: Empreintes Digitales (IMED 0261), 2002. \n \nFurther performances: PACE, De Montfort University (2007); Royal Scottish Academy of Music and Drama (2006); Scarborough Electroacoustics (2003); Finnish National Radio (2003); University of York (2003); International Biennial of Electroacoustic Music, São Paulo (2002); Musica Viva, Portugal (2002); National Review of Live Art, Glasgow (2002); Rien à voir, Montréal (2001). \n \nResearch summary: Pythagoras's Curtain investigates the perception of tactility through sound using, as source material, audio recordings produced solely by human manual actions. The title points to the adoption/adaptation of the term ‘acousmatic’ by composers of the Groupe de recherches musicales in the 1950s. By way of a reference to an aspect of the teaching methods of Pythagoras, it refers to the perception of sound without direct visual confirmation of the source. The process of working with these sounds in an acousmatic context led to a three-way investigation of the interaction between the physical energy of gesture, the sonic response of the objects being handled, and the application of digital signal processing techniques and ‘interventions’ in the way manual gesture-energy and physical objects interact. In particular digital audio interleaving techniques and techniques of time domain envelope substitution were used to form new energy-object sonic relationships. Techniques of envelope substitution and wave set interleaving are also used to construct new forms of vivid spatial imagery within a stereo format. \n \nA discussion of the techniques and musical processes used in the work are reported in ‘Sound-Image Design and Electroacoustic Transformation Processes’ presented at Sonoimágenes 2002, Buenos Aires and further developed in ‘Reflections on sound-image design in electroacoustic music’, Organised Sound, 12(1): 25-33, 2007.
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 | 0.001 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.001 | 0.000 |
| Scholarly communication | 0.000 | 0.001 |
| Open science | 0.004 | 0.003 |
| Research integrity | 0.000 | 0.001 |
| Insufficient payload (model declined to judge) | 0.000 | 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