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
Environmentally conscious activism events, such as The World Wildlife Federation's Panda Ball, the local foodways' festival Soupstock, and singer-songwriter Sarah Harmer's Escarpment Blues tour, cannot guarantee measurable systemic change, but their soundscapes stimulate connections between audiences and the environmental movement, and generate individual and collective environmentalist activity. The soundscapes of these events are used to create positive sonically-saturated community events where everyday sound and music advocates for the environment. The soundscapes of events that foster environmental awareness comprise diverse sonic features that contribute to the shaping, understanding, and communication of specific messages concerning the environment. Observing the function and formation of event soundscapes imparts a more nuanced understanding of how soundscapes can communicate environmental meaning.Soundscape, as coined by composer and acoustic ecologist R. Murray Schafer, considers the acoustic environment within which listeners are situated and to which they actively and passively contribute. Soundscape is the aural equivalent to landscape. In the late 1960s, Schafer suggested a radically different concept in The Tuning of the World (1997): the soundscape as a composition to which all of society contributes and in which we must 'try to hear the acoustic environment as a musical composition' (205). And, further, that 'we own responsibility for its composition' (1978: 205) and 'compose' ethically with ecological (human and non-human) relationships in mind. Schafer's ideal soundscape is one that is free of 'noise'. Noise, for Schafer, is sound produced by mechanical, electric, or industrial means as a result of humanity's increasing urban development, often at the expense of the natural world. Schafer formed the World Soundscape Project while he was at Simon Fraser University (Burnaby, British Columbia, Canada). The World Soundscape Project was an interdisciplinary research team to explore and document local and international soundscapes, document diverse acoustic environments, develop the public's listening sensitivity, and increase public awareness concerning the importance of the soundscape and the potential threat of 'noise pollution'.Soundscapes acoustically place people, their experiences, the physical materials of a region, and socio-cultural issues. Social justice events that promote environmental advocacy, charity and awareness are shaped by their soundscapes. These soundscapes are frequently what Mitchell Morris terms 'ecotopian' (Morris 1999), that is, they highlight the positive effect of sound and music in the dissemination of environmental messages, information, and awareness. The sounds and music used to promote the positive characteristics of the environment are also used to consolidate a listenership who is united by common ecological values (e.g. recycling programs, community organic gardens, energy conservation, and alternative energy sources). Following Morris, I consider 'ecotopian spaces' as idealised spaces where artists and event organisers have the creative agency to effect change in their participants if the participants choose to actively listen. The audiences who attend these events must proactively make modest yet impactful adjustments to their everyday lives. These modest changes have the potential to promote environmental redress.This article is concerned with the sonic experience of soundscapes regarding advocacy, charity and awareness initiatives that foreground sound and the physical material of place in the communication of socio-environmental information. The environmentally conscious activism events that I address in this article include: the slick large-scale fundraiser the World Wildlife Federation (WWF) gala, the Panda Ball, the local foodways' festival Soupstock, and singer-songwriter Sarah Harmer's Escarpment Blues (2006) documentary and eco-tour. The soundscapes experienced through these three eco-initiatives praise the invaluable contributions of the natural environment, and facilitate in a similar manner to the benefit concert phenomena, the simultaneous dissemination of personal artistic promotion and the communication of environmental worldviews. …
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 | 0.000 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.000 | 0.000 |
| Scholarly communication | 0.000 | 0.000 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| 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