Selected sounds : a collective investigation into the practice of sample-based music
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
Selected Sounds involves an ethnographic investigation into the sampling and mixing practices of a group of sound artists from Montreal, Canada. Seven composers (in one case, a composing duo) each contributed a single piece of digitized sound to the project. Each was free to submit any sound they liked, with the one requirement that all samples be selected from sources discovered around Montreal. After collecting the audio files, I placed them together on a CD, copies of which were distributed to every participant. Each composer then put together a track drawing on this sample-pool exclusively for source material. The resulting mixes have been compiled into a nationally distributed, independent audio-CD. All were interviewed regarding the evolution of their knowledge of digital audio production methods, as well as their thoughts on audio sampling. In Chapter 1 (the Introduction) I present the research project and outline the theoretical framework as well as challenges addressed. In Chapter 2, I discuss various methodological choices made in Selected Sounds as a reflexive ethnography that invokes sample-based musical practices of citation, friendship and creative production as mechanisms for highly-engaged research in the arts, humanities and social sciences. Chapter 3 presents a literature review of recent academic accounts of audio sampling and the impacts of digital technology upon the contemporary reception and use of media. Chapter 4 introduces Appendix A-an interactive database developed from out of the Selected Sounds interview process. Chapter 5 concludes by taking up conversations contained in Appendix A and organizing them around seven different reconfigurations of the concept "sampling" for 2007: sampling-as-technology, sampling-as-community, samplingas-memory, sampling-as-collecting, sampling-as-ethics, and sampling-as-recording. Appendix A is the Selected Sounds interview database. Appendix B contains a brief introduction to "The Lesbians on Ecstasy," a musical performing group of which three of the participants in Selected Sounds are members. Appendix C is a transcript of the final meeting with the Selected Sounds research group
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 | 0.002 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.002 |
| Science and technology studies | 0.003 | 0.002 |
| Scholarly communication | 0.000 | 0.000 |
| Open science | 0.001 | 0.000 |
| 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