Alterity: Writing Differentness in Print
Bibliographic record
Abstract
The creative artefact accompanying this submission for the Degree of Doctorate of Creative Arts (Creative Writing) is a 40,000 word novel, entitled The Sherbrooke Brothers, written for the cross-over market, which includes young adult and older readers. Following the lives of two brothers, Alex and Rob (aged 17 and 20 respectively), The Sherbrooke Brothers explores existential themes such as fate, choice, death, freedom, personal responsibility, and the possibility of an afterlife. As an important manifestation of alterity (the sense of self and other) the subconscious world of both characters is explored using surreal devices - such as memories, dreams, visions and/or hallucinations - most of which are written as stand-alone episodes that may be read non-sequentially. Additionally, parallel storylines allow readers to observe events impacting upon both characters simultaneously, but in different settings. Digressive footnotes, as well as material written in the margins, intensify the creative artefact's multi-linear nature, providing readers with a choice as to how they traverse and interpret the text. Footnotes also allow for the introduction of an omniscient narrator, instilling the creative artefact with a different point of view, as well as multiple character-oriented perspectives. The Sherbrooke Brothers is an experimental work that re-presents the networked, interlinked, visually-oriented aesthetics of electronic-based technologies, such as computers and smartphones. This re-presentation is brought to the fore in several ways, including the use of Quick Response (QR) Codes that link the creative artefact with the Internet. When adapting electronic aesthetics into the printed realm, it has been my intention to transform a contemporary existential narrative into an assemblage of texts that conjures individual interpretations and reader interactivity. Yet, as a deeply intertextual work that positions the printed text as physical artefact, The Sherbrooke Brothers reinforces the collaborative dynamics that occur between readers and author when determining meaning.
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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 | 0.002 | 0.007 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.003 | 0.005 |
| Scholarly communication | 0.011 | 0.004 |
| Open science | 0.001 | 0.005 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.077 | 0.017 |
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".