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• Exactly how does the Matrix-Game GameWorld Score measure keyboard and mouse following, what do Oasis, MineWorld and Matrix-Game 1.0/2.0 score on it, and what does it need to run? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  GameWorld Score (Matrix-Game 1.0 paper and the GameWorldScore directory at commit c7a88bf) scores eight dimensions; the action ones come from an IDM trained on Minecraft (the paper says 90.6% keyboard accuracy, R2 0.97 for mouse) applied to generated clips. The code asks for 76 actions on 32 initial images, i.e. 2432 videos. Paper results (author-run): keyboard/mouse accuracy 0.77/0.56 Oasis, 0.86/0.64 MineWorld, 0.95/0.95 Matrix-Game 1.0. Matrix-Game 2.0 reuses the score on Minecraft (0.91/0.95) but says the action metric cannot be applied to wild scenes, so its comparison against YUME omits action accuracy. The benchmark downloads several checkpoints in pickle-capable formats and the repository carries conflicting licence signals.
• What did Wertheimer (1923) actually list as grouping factors, and how far do they transfer to layout design? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Wertheimer's 1923 paper (Ellis's 1938 English translation, openly readable on Classics in the History of Psychology) names factors of proximity, similarity, uniform destiny (common fate), direction, closure/good curve, objective set and past experience, demonstrated with dots and lines. The common design-textbook list ("proximity, similarity, closure, continuity, common fate") is a later condensation: in the text read, closure is stated not to be always dominant, similarity is called a special case of the good Gestalt, and no layout or interface example appears. Use it as a source of grouping hypotheses to test, not as proven layout laws.
• Where does the "rule of thirds" come from, and what did J. T. Smith actually write in 1797? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The phrase "Rule of thirds" appears, in quotation marks and with an apology for coining it, in J. T. Smith's 1797 Remarks on Rural Scenery. In the 1797 text it is a rule about proportions of light and shade and of areas (sky vs. earth/water, about 2:1), not a grid of four intersection points. Smith presents it as his own observation, derived by analogy from an observation about Rembrandt-type pictures, and invites correction; the OCR text read does not contain "golden".
• What evaluations of AI directors and emergent-narrative systems do the designers and open papers actually report, and how strong is the evidence that they improve player experience? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The designer sources report outcomes, not measurements: Valve cites sales and awards for Left 4 Dead and asserts that a crude intensity estimate yields good pacing; no pacing data appear in the slides read, and RimWorld and Dwarf Fortress sources report none. A 2024 open paper says directly that no comparative data exist for the L4D director. Its own human-subject study of three directors in a small farming game (108 started, 32 usable) found that non-random directors beat random on time played and quests presented, with enjoyment lower only for random in the second session, yet its conclusion says players failed to perceive a difference. Valve's playtesting deck lists physiological arousal measures but contains no director-specific results. The evidence base for pacing controllers is therefore thin and mixed.
• What does HOOD, an open learned cloth simulator trained without a ground-truth solver, report about quality, speed and limits compared with MeshGraphNets-style and physics-based cloth? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  HOOD (CVPR 2023, arXiv v3) combines graph networks with hierarchical message passing and trains self-supervised with a physics-based loss instead of solver-generated targets. Its human study (30 participants, pairwise realism) favours HOOD over two learned baselines and is about equal to the ArcSim physical simulator on the sequences where ArcSim could run; HOOD runs at about 7-14 fps for a 12K-vertex dress ablation (not a comparison with ArcSim time). Stated limits: no garment-garment interaction (self-penetration), failure when body motion exceeds training velocities, and wrong correspondences under severe body self-intersection. Code is MIT-licensed per the LICENSE text; data and SMPL models are fetched separately.
• What do studio and vendor first-person accounts say about the real speed and accuracy gains of ML deformers in production rigs, and where do they fall short? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  DreamWorks and Berkeley (2018) report 5x-10x faster deformation evaluation on production rigs. Golaem (DigiPro 2024) tried to reproduce this in a commercial crowd product and reports only x1.2-x2 on production assets because the paper's rigs were optimised for the model and the rest of rig evaluation dominates; its main disappointment was no significant speed gain. It reports Euler-angle and facial limits of the first method, ships the ML deformer as a crowd-package feature for close-up facial deformation, and notes crowd artists prefer overfitting because crowd sims blend clips rather than generate unseen animation. The paper's own Table 1 fps values imply 1.8x-2.5x, which does not match its text range.
• For moving-image stories, how does a viewer's running understanding of the plot relate to what they look at and to where they sense a new event beginning? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  SPECT (Loschky, Larson, Smith & Magliano) is a framework with front-end processes (single-fixation attention and information extraction) and back-end processes (building a current event model, mapping coherent changes, shifting when mapping fails). Its authors' own studies, summarised in the paper, found in picture stories that a missing bridging image lengthened viewing time, and in an edited film clip (Jaws, N=98 think-aloud) that prior context changed whether viewers drew the predictive inference while gaze stayed strongly synchronised across conditions. The theory paper itself is a framework plus the authors' summary of their programme, not a single measured result.
• What do scholarly sources say about improvisation, audience interaction and the use of painted screens (pardeh) in naqqali, and what could a contemporary narrator responsibly take from it? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Evidence is thin and indirect. Khosravi (2025, citing Aydenloo 2011) reports that storytellers in public sessions reinterpreted story aspects based on shared values with the audience or improvised new elements inspired by the context, and her Persian background (citing Mills 2001 and Page 1992) notes narrators sometimes improvised a forbidden topic into the middle of a session; training was by imitation of masters, refined by audience feedback. Galehdaran and Pourzarrin's English abstract (2019) says in pardeh-khani the narrator, 'with skill in improvisation', identifies the figures on the screen with the actual environment, masks parts of the screen and places himself as a visual element, with performance either in closed courtyards or open air where a scroll is opened slowly or a cover screen removed. Page's 1979 field-based article on transmission is paywalled; only its extract is readable. UNESCO's text was not readable.
• What body and gesture conventions are documented for the naqqal, what changed from the old manual to modern practice, and how do two named masters differ in one battle scene? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Khosravi (2025) compares recorded performances of the Rostam-Sohrab second wrestling scene by Masters Saeedi (film c.2000) and Torabi (film 2009) using Muller's (2024) co-speech gesture toolbox. She counts 23 gestures for Torabi (5 functional, 18 depictive) and 22 for Saeedi (7 functional, 15 depictive); Torabi stresses the physical fight and fate (the 'wheel of fortune'); Saeedi uses more abstract and functional gestures, stresses Sohrab's resistance, repeats the phrase 'he only bent Sohrab's back', and presents the death as a tree felled by wind, making Rostam accountable. The article's Persian background reports that the historical manual Taraz al-Akhbar (cited via Haj Seyed Javadi) tells the storyteller not to illustrate with body gestures, with limited battle-scene exceptions, so modern gesture practice contradicts the manual's rule as quoted.
• What is naqqali (Iranian dramatic storytelling of the Shahnameh), how does it differ from Shahnameh-khani, and what do 'scroll' and 'pardeh' mean in this context? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Open scholarly abstracts and an English-and-Persian 2025 article agree on the core: naqqali is performed narration of stories, today above all of the Shahnameh, as distinct from Shahnameh-khani, which is reciting the verses themselves. Jahandideh and Khaefi (2013) define naqqali of the Shahnameh as narrating with special tone, feelings, expression, gestures and movements, and Shahnameh-khani as singing the exact verses; they report four basic types. Khosravi (2025) says the form's peak is placed in the 10th-13th centuries (as printed, solar Hijri) and that from the late Qajar period it narrowed to prose manuscripts (tumars) built on the Shahnameh. The word 'scroll' is used for two different things: the narrator's written prose tumar (Khosravi, citing Aydenloo) and the painted pardeh used in pardeh-khani (Galehdaran and Pourzarrin 2019). UNESCO's inscription files were not readable.
• Can a language model's next-word prediction error stand in for where human listeners perceive event boundaries in a story? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Kumar et al. (2023) used GPT-2 XL to compute four per-word measures (surprisal, entropy, Bayesian surprise as KL divergence between successive next-word distributions, and embedding cosine distance) on three audio stories and tested them against human button-press segmentation with leave-one-story-out cross-validation. Only transient Bayesian surprise reliably predicted boundaries; correlations were small (about 0.05 to 0.12 in Table 1) though above a circular-shift null. This is a text-only audio-story study with an older model and no film, so it does not show that a language model finds scene boundaries in screenplays or video.
• Do time, space, causation and character changes all cost the audience the same effort, or are some tracked more reliably than others? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Not equally. A 192-child reading study found slowing at contradictions on emotion and causation but none on time or space; a 2025 adult eye-tracking study found longer total fixation on sentences with spatial or character shifts, with no age interaction; the 1998 review reported additive time and causal costs and no strong evidence for spontaneous spatial tracking. Methods differ (inconsistency detection vs shift cost), so the evidence is mixed rather than a ranking.
• When I write or edit a story, which story-world facts does cognitive research say a reader is tracking from beat to beat, and what happens to comprehension effort when they change? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The event-indexing model (Zwaan, Langston & Graesser 1995, as summarised by Zwaan & Radvansky 1998 and restated by Zwaan 2016) says readers index each new event on time, space, causation, goal/intentionality and protagonist/entity, and integrate it more easily the more of these it shares with the current model. Reported support is reading-time and relatedness data from lab texts; the 1998 review itself says the model is incomplete (links unspecified) and found no strong evidence of spontaneous spatial tracking. The primary 1995 papers were not reachable, so numbers from them are not given.
• Do cuts make viewers perceive a new event, and which kinds of edit line up with perceived event boundaries? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The inspected open sources agree that a cut by itself is not a boundary: in The Red Balloon the cut-boundary association disappeared once character, space, goal and other changes were controlled (Zacks et al. 2010). In a seven-participant VR replication using the Magliano-Zacks edit taxonomy, action-discontinuous edits were the strongest predictors of marked boundaries and continuity edits preserved continuity of action. In an edited film clip, viewers lacking prior context marked cross-cut shots 4 and 6 as new events more often (N=88). Limits are one film, one clip, and a small VR sample; Magliano & Zacks 2011 itself is already in the catalogue and was not re-read.
• Under the Move One App EULA, who owns the mocap Output, what may I do with it commercially, and what may I not do with it (AI training, competing products)? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  At the Move One App EULA page fetched 2026-10-22 (header Last-Modified 2026-10-22T01:02:33Z), Move AI owns the IP in the Motion Data and Output (7.1.2) and licenses the Output back to the user worldwide, royalty-free, transferable and sublicensable (7.3), but the licence is void if Output is put to a defined Prohibited Use (7.5): building a competing product, training any AI System, or using it as an input to an AI System other than to create an original video work. The user in turn grants Move a perpetual, irrevocable licence to uploaded video for providing services and for developing and training its products (7.2). This is clause reading only, not legal advice or clearance.
• Where do the lens-distortion models of matchmove and compositing tools (Nuke, SynthEyes, OpenCV, Blender/libmv, COLMAP, 3DE, OpenTrackIO) disagree, and what parameters must travel with a shot for the distortion to be reproduced? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Reading pinned vendor docs and source, the models disagree in at least five ways: direction (Blender division applies x/(1+k r^2) from ideal normalised to image; Nuke Classic and COLMAP SIMPLE_DIVISION use the same form from distorted to ideal), the meaning of k4 (OpenCV: a rational denominator term; Blender Brown: an r^8 polynomial term), the roles of p1 and p2 (Blender Brown is swapped relative to OpenCV, COLMAP and Blender Polynomial, from code reading), the normalisation (OpenCV by z with focal in pixels; Nuke width/height/diagonal/maximum; Blender Nuke model by half the larger image side; OpenTrackIO offsets in mm), and pixel origin conventions. For the shot to be reproducible the record must carry model name, direction, coefficient order and units, normalisation, centre/offset, sensor size and resolution, focal length and the focus/zoom state; an STMap or projection screen is the model-free alternative with storage and precision costs. 3DEqualizer model equations were not read...
• What do the Kuleshov papers state about where their face and context stimuli came from, whether the stimuli or data are public, and under what terms, so an agent knows what can be re-used? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Articles are mostly CC BY (Cao, Calbi, Mullennix, Szaszko & Loebus), but the stimuli are a different matter. Face sets named in the papers are KDEF (Calbi/Barratt, Mullennix) and NIM-STIM (Mobbs); context sets are IAPS (Mobbs, Mullennix) and OASIS (Szaszko & Loebus); Cao and Szaszko & Loebus filmed their own faces and Cao shot its scenes with actors who consented to publication. The one stimulus-set terms text read (KDEF's own page) allows only researchers, non-commercial use and forbids redistribution without written consent. No paper states a licence for its own clips; Cao's GitHub repository (no licence file, tree lists only spreadsheets and statistical maps) does not contain the video stimuli; Mullennix's data are on Dryad (metadata says CC0); Szaszko & Loebus provide data on request. Terms for IAPS, NIM-STIM and OASIS were not read.
• What techniques, signals and failure modes for flashbacks and cut-backs do early photoplay texts and the Living Handbook give, and what check can I run on a non-chronological outline? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Period manuals (1913-1919) give concrete rules: signal memories and dreams with a fade-out/fade-in sandwich written as three numbered scenes; show simultaneous action by cutting one scene into the other, not by fades; build time information into captions; use the return to heighten suspense but not to digress or pick up forgotten points; and prefer forward chronology (Phillips: "a now play"). The Living Handbook notes that flashbacks are conventionalised, and that a fabricated flashback was considered a failure by Hitchcock (Stage Fright). No source gives a numeric test; the one experiment found measures costs (evidence in candidate 06).
• What do "flashback", "analepsis", "anachrony" and the old film term "cut-back" mean, and why can the same word point at different things? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  In narratology (Living Handbook of Narratology, "Time") a deviation between story order and telling order is an anachrony; Genette calls the backward kind analepsis (flashback) and the forward kind prolepsis (flash-forward). In 1913-1919 American photoplay manuals "cut-back" meant something else or more: returning to an earlier-shown scene (often intercutting parallel action), sometimes a memory insert, and in one manual a mere splitting of a long scene. A beginner must check which sense a source uses.
• How do the recorded wordings of the "gun" remark differ in object, unit, date and source, and what do English renderings change? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  A side-by-side of the four Russian records and one English secondary summary shows a drifting object (ruzhyo gun/rifle vs pistol), unit (stage vs act vs chapter), purpose (promise vs hook vs edit) and publication date (1904, 1910, 1911, 1936). An English summary text (Wikipedia, one revision) renders Shchukin's "chapter" as "act", merges the letter's two sentences into "wrong to make promises", and speaks of "several letters" where the Russian sources read show one letter and three reminiscences. No openly readable English translation with named translator was found.
• What setup-and-payoff technique, limits and failure modes follow from the four Russian records of Chekhov's "gun" remark (letter, Gurlyand, Nemirovich-Danchenko, Shchukin)? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The four records point at four different jobs for the same image: policing a promise to the spectator (letter), keeping a first-act prop to the last act (Gurlyand), cashing an act-ending "loaded gun" in the next act instead of withdrawing it in the interval (Nemirovich-Danchenko on The Seagull), and ruthless editing of a beginner's story (Shchukin). Together they yield a promise audit and a hook-payoff check, with a narrow reading of the limit: they say planted things must be paid, and none of the passages read says every payoff needs a plant. Red herrings and over-signposting are not discussed in any passage read.
• What does openly readable empirical work show about viewers' comprehension, load and enjoyment of flashbacks in film, and how strong is it? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  A CogSci 2011 paper (Sevenants & d'Ydewalle) compared a 14-minute student thriller with flashbacks against a re-edited chronological version: 30 students rated characters and ranked scenes; 8 students had pupil size recorded. Story order was easier to reconstruct (r = +.868 vs +.749), characters' acts more salient, and pupils larger in 5 of 7 flashback scenes, but aesthetic ratings did not differ. A 2025 open-access paper (Djonov & Tseng; abstract read, full text blocked) reports 28 children 7-10 on two Disney flashback scenes, with temporal comprehension supporting causal interpretation. Evidence is small-sample and mixed.
• What exactly did Chekhov write in the 1889 letter that is said to contain the "gun" rule, and is the popular wording ("a gun on the wall in act one must fire") in it? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The only Chekhov-authored text in these sources is a letter of 1 November 1889 to A. S. Lazarev (Gruzinsky) about a vaudeville manuscript. It says one may not put a loaded gun on the stage if nobody means to fire it, then adds "one may not promise"; the "gun" is a figure for an unrelated opening monologue that promises the audience something the play does not deliver. The popular sentence about a pistol on the wall in act one comes from a different source (Gurlyand, as quoted in the editors' note), not from the letter. The Constance Garnett letters volume does not contain this letter.
• Can I use sound generated by MMAudio, HunyuanVideo-Foley or ThinkSound in a commercial delivery, according to what their licences and cards actually say? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The texts differ per component. MMAudio: code MIT; checkpoints CC BY-NC 4.0 (non-commercial) with a README warning that training-dataset licences apply and commercial suitability is not guaranteed. HunyuanVideo-Foley: Tencent Hunyuan Community License, which says Tencent claims no rights in Outputs but excludes EU/UK/South Korea, bars using Outputs to improve other AI models, restricts use outside the Territory and adds a 100M monthly-active-user condition. ThinkSound: HF card says Apache-2.0 while the GitHub README says commercial use is not permitted (see -05). No text read grants clearance; this record does not conclude legal permission.
• How do I read the licence of a single Wikimedia Commons file safely: which part of the file page and API is the evidence, and what can the API flatten? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Commons policy requires every file description page to carry a copyright tag, source and author, and says the page should allow others to verify the licence status; the help page for reusers adds that the Foundation gives no warranty and the reuser should verify. In the worked example File:Hopetoun_falls.jpg, the page wikitext carries {{self|cc-by-sa-3.0|GFDL|attribution=...}} (two licences), while the API's License and LicenseShortName fields show only CC BY-SA 3.0; GFDL appears in Categories and the Permission text. So the wikitext at a page revision is the better evidence, and the API fields are a convenient summary.
• What do V-JEPA 2 and V-JEPA 2-AC checkpoints come with in code, weights and outputs terms, and what does the public text leave open? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  At commit 204698b45b3712590f06245fbfba32d3be539812 the README says 'the majority of V-JEPA 2 is licensed under MIT' with three Apache-2.0 source files and says nothing about checkpoints. Weights are hosted two ways: dl.fbaipublicfiles.com URLs listed in the README (including V-JEPA 2-AC, a 11.76 GB object; HEAD only, not downloaded) and 8 Hugging Face repos whose card front-matter says 'mit' for six and 'apache-2.0' for the two ViT-g fpc64 pretrained cards; the cards contain no licence prose and the HF repos list no LICENSE file. V-JEPA 2-AC is not in the HF collection. The paper (arXiv v1) says it trained V-JEPA 2-AC on under 62 hours of Droid robot video and pretrained on public datasets including YT-Temporal-1B; rights of that data are not addressed in the texts read. Terms for outputs, redistribution and training use of the weights: not stated.
• Is WHAM's context 10 seconds or 1 second, and do the two statements count different units? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  They count different things, and the card contradicts itself. The Nature paper's methods say the 1.6B model's context is 5,560 tokens, 'equivalently 1 s or ten frames' (data downsampled to 10 Hz); its '10 s' is the length of the evaluated videos (consistency FVD uses 10-s clips). The Hugging Face card says 'Context length: 10 (observation, action) pairs / 5560 tokens' in the training section but 'Limited context length (10s)' under limitations. Ten pairs at 10 Hz is 1 s, so the card's '(10s)' does not match its own pair count; no Microsoft text explains the difference, so reading it as a slip for ten steps is an inference. Code defaults agree with ten frames: run_dreaming.py sets context_length 10.
• Has the benign-violation theory been tested on humor that is not a moral-violation vignette, for example complaints and reviews, and with what methods and sample sizes? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  McGraw, Warren and Kan (JCR 2015) apply the benign-violation theory to humorous complaints in six studies using Yelp data (330,071 reviews), Facebook status updates, a Haribo review sample and mTurk experiments (one with N = 1,214). The reported pattern is that humor makes complaints read as more positive but praise as more negative, and that humorous complaints are less likely to win redress or sympathy. This is an extension by two of the theory's originators with non-moral stimuli, not an independent replication, and the open copy found carries a JSTOR-download footer, so its reuse status is unclear.
• What failure modes (cliche, broken genre contract, mis-keyed convention) do Aristotle, Archer and the Living Handbook entries name, and what evaluation checks can an agent run against a genre's expectations? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Across the pinned sources the named failures are: balking a definite expectation (Archer); over-preparation so tricks are foreseen and resented (Archer); a convention practised so long that its falseness is no longer noticed, and stock devices that later become offensive (Archer); an incident from the wrong mode, such as a melodramatic scene out of key with an idyllic play (Archer); incidents giving the monstrous instead of the genre's proper pleasure (Aristotle); and coherence judged by the wrong genre's standard (Toolan). Counter-evidence shows conventions shift: devices accepted in one period become offensive, and Hitchcock's 'lying' flashback judged a failure by him is later embedded in more complex structures. The LHN film entry notes 'fictional contracts with the audience' beyond verisimilitude, and the Schemata entry says detective clues can be buried by making descriptions schema-consistent. The audit procedure below is a synthesis; no source supplies a validated test.
• Can a narrative universe be modelled as a set of worlds (textual actual world plus each character's knowledge, wish, obligation and plan worlds), how does that model define conflict and plot types, and where does it break? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Ryan's account (as summarised in the LHN Possible Worlds entry) models a narrative universe as a modal system: the narrator's asserted physical facts form the 'textual actual world', and each character has a private system built around a knowledge world (K), plus wish (W), obligation (O), plan and fantasy worlds. Conflict arises when a proposition in a model world is not satisfied in the actual world, or when characters' model worlds clash. Eco's three-layer machine (fabula worlds, character subworlds, Model Reader's expectations) adds the reader's worlds; Doležel's alethic/deontic/axiological/epistemic systems map world rules to plot types, including mystery as epistemic manipulation. The entry also records that the PW-narrative link may be metaphorical and that readers rarely fill all worlds.
• What goes wrong with temp tracks ('temp love'), what mitigations do editors and composers describe, and where do sources disagree? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Practitioner sources agree temp music shapes the final score: Carlson hears 'the DNA of the temp' in many scores, and Harrison says composers end up with a 'sideways version'. They differ on remedy and value: Harrison treats temp love as a curse or a help (non-musical filmmakers can say what they love in the temp), while the Pluribus editors (Art of the Cut) avoid temp except for montages and one temp-scored first episode shown to the studio. A blog post under Randy Thom's name overstates the editors' own words ('the entire series without any temporary score'): the interview says exceptions existed, so the blog is a lead, not evidence of the claim.
• What is the Kuleshov effect, and what do the open-access experiments say an editor can and cannot rely on? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The 1920s footage is lost and the contemporary accounts conflict, so the classic claim rests on modern experiments. In the five open-access experiments read (Mobbs 2006, Calbi 2017, Mullennix 2019, Cao 2024, Szaszko & Loebus 2026) an emotional context shot shifted ratings of an unchanged neutral face, but the pattern is narrower than the folklore: valence shifts are the most repeated result, negative or fear contexts shift ratings more reliably than happy ones, forced emotion-label results are mixed, and the most tightly controlled recent study found only tiny valence shifts and no label shift. An editor can treat context as a modest, direction-of-valence bias to be tested with viewers, not as a guarantee that viewers will name a particular emotion. Barratt et al. 2016 (the best-known replication) is paywalled; only its abstract was read.
• What is the Universal Category System for sound effects, where is its official list published, which version and category list does it define, and under what terms? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  UCS describes itself as a public-domain initiative offering a fixed category list and a filename structure for sound effects; its site (observed 2026-10-22) announces version 8.2.1 (January 2024). Its only distribution channel is a Dropbox shared folder reached through resources.universalcategorysystem.com, which a raw HTTP read cannot list, so no official specification text or official CSV was read at a stable URL. The 8.2.1 list can be read as plain CSV from three third-party repositories (each citing the UCS site as source): 753 CatID rows, 82 categories, columns Category, SubCategory, CatID, CatShort, Explanations, Synonyms. Terms are a self-description ('public domain'), not licence prose.
• What structural statistics can I get from Twine, ink and Yarn Spinner without writing my own parser, and what do they not tell me? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  At the pinned versions: Twine's Details view reports characters, words, passages, links and broken links; inklecate's -s flag prints words, knots, stitches, functions, choices, gathers and diverts as JSON (source-level, not for compiled .json); `ysc graph` exports all nodes and links as DOT or mermaid. None reports number of endings, path counts, cycles or reconvergence; those need the exported graph plus your own computation.
• What do the PerseusDL canonical-greekLit repository, the Perseus Digital Library site, the Poetics TEI header and Harvard/Loeb public pages say about rights in the Fyfe (Loeb) English Poetics that Perseus labels CC BY-SA 4.0? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  No inspected public page is a Perseus or Harvard statement specifically about rights in Loeb-derived translations such as Fyfe's Poetics. What exists is a layered set of generic statements that disagree on the licence version: the TEI header and repository README apply CC BY-SA 4.0 ('unless otherwise indicated'), the Perseus site page for the same text says CC BY-SA 3.0 US, and the Perseus copyright page says Tufts holds overall copyright, rights vary per component, and some texts (Loeb/Harvard University Press named) are used 'by agreement with the publishers who hold their copyrights'. The Poetics text itself carries no copyright or public-domain assertion; its only rights-relevant metadata are the licence element and a Heinemann/Harvard sourceDesc. The question of what Harvard permits was not answered by any inspected Harvard/Loeb page.
• Can an L10 experiment use Xiph's derf test-video collection with a clear per-clip licence, and what do the per-clip notices say? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Not as a collection. The derf page says clips were publicly accessible or given to Xiph and are 'believed to be freely redistributable', that some may impose additional restrictions, and points to copyright or readme files. By my regex tally of the HTML, 118 clip entries, 85 with a copyright or readme link in the header and 32 with no link; 9 entries say login required at the original source. The notices I read differ: Fujitsu's Bowing notice grants use only for research purpose with conditions, the Hannover-path notice limits use to developing, testing and promulgating technology standards, and the twitch folder says public domain with a fair-use caveat. So derf clips need a per-clip read.
• What does a drama manager consist of, and which ten desiderata does a survey of drama managers propose for judging one? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Roberts and Isbell (2008) define a drama manager as a coordinator that tracks narrative progress and directs objects and agents toward a narrative or training goal. They say every approach rests on four parts: plot points (with precedence constraints), drama-manager actions, a model of player responses to those actions, and a model of authorial intent. They list ten desiderata (speed, coordination, replayability, authorial control, player autonomy, ease of authoring, adaptability, soundness, invisibility, measurability) and say some conflict, notably player autonomy and authorial control. The analysis is qualitative and, by the authors' own statement, speculative about what authors can actually exploit.
• How do I stop a theme from turning into a sermon, in particular when characters state the theme in dialogue? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Baker identifies the thesis or problem play's characteristic fault as dialogue in which "the author himself is speaking", gives a worked example (Senator Morse speech) and a repair rule (rewrite until the speaker would say it). Archer says Brieux's theme-first plays suffer from "obtrusive predominance" of the abstract element and recommends openly declaring a moral apologue. Chekhov argues the writer should not judge, and that a sermon plus art is hard because maintaining the characters' tone is needed. Together: three fixes: voice the idea in the speaker's character, declare the fable, or withhold the verdict. These are literary-historical sources; no test of audience effect exists.
• Where do public-domain sources disagree on theme-first versus story-first (Archer, Baker, Poe, Chekhov), and what does each imply for a checkable test? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Four positions. Poe (Twice-Told Tales review, Graham's 1842): conceive a unique single effect, then invent only incidents that serve it; every word tends to the pre-established design. Archer: abstract-theme-first is risky; no rule on which of character/situation/story comes first, and many plays have no abstract theme. Baker: a central idea or purpose must be decided so emphasis can express it. Chekhov (letters): the writer is a witness, not the judge; he relies on readers for subjective elements, and finds sermon-plus-art technically difficult. They overlap on effect/unity and disagree on who supplies meaning and when it is fixed.
• What can the Living Handbook of Narratology (speech representation; narration in poetry and drama; diegesis-mimesis) contribute to an agent's test of dialogue, and where does it not apply? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  LHN gives a vocabulary and limits, not a craft recipe. McHale classifies how a character's speech or thought is rendered (direct, indirect, free indirect, thought report) on a scale of fidelity and notes that formal features often do not decide the reading; contextual cues do. Hühn and Sommer position drama as having dialogue, stage directions and narrative devices (prologues, soliloquies, asides) that narratology can analyse. Halliwell traces the telling/showing pair to Plato and Aristotle and cautions against equating "showing" with drama. None of the three entries names subtext, exposition dumps or on-the-nose lines.
• What do public sources say about what dialogue should leave unsaid, and which named techniques (indirection, contradiction of word by action, withholding) do they actually support? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The sources support less than the question assumes. Archer gives a rule that characters should reveal inner life "without saying or doing anything they would not say or do in the real world", treats soliloquy and aside as labels, credits taciturnity and silence as dramatic (Barrie, footnote), and argues a hidden-answer secret cannot be kept from repeat audiences and turns spectators into clue-hunters. Chekhov (Garnett) says he relies on the reader to add subjective elements. Baker lets inflection carry what a cut line omits. Contradiction between word and action is not named as a technique in any inspected source; the nearest is Archer's "deeds, not words" for character. "Subtext" does not occur in Archer or Baker (grep).
• How do primary craft sources say to deliver backstory through dialogue without an exposition dump, and when is a "conventional" device acceptable? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Archer (chs. VI-VII) distinguishes dramatised exposition, where the unveiling of the past is itself the conflict (Ibsen, Ghosts), from narrative exposition, and permits a quick conventional device when dramatising is not possible, but condemns "rubbing in" the device and plunging into narrative before the audience cares. Baker agrees the facts must be stated but wants them stated in character and in an order that sustains interest. Neither names the "info dump" phrase.
• Did Wagner call his recurring themes 'leitmotifs', who did, and what did he call them? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  In Ellis's English translations, Wagner's own accounts (1851 'A Communication to My Friends'; 1879 'On the Application of Music to the Drama') describe a 'tissue' or 'web' of 'thematic Motivs', 'root-themes' and 'chief-moods'; the only place the word Leitmotive appears in the volumes inspected is in the 1879 essay, in quotation marks, attributed to his younger friend Hans von Wolzogen ('what he calls my Leitmotive'). Ellis's Vol. II translator's preface also uses a word the OCR renders 'leitmotivtn' (read as leitmotiv-) as a metaphor for recurring words, not for music. Within these texts, the term is therefore Wolzogen's name for the phenomenon that Wagner himself describes differently. Whether Wolzogen first coined the word, or someone else, was not established.
• How do Ware, Young et al. define narrative conflict inside a causal-link plan (CPOCL), what are the seven conflict dimensions, what did the two human studies measure, and what can an outliner reuse? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Ware and colleagues (IEEE T-CIAIG 2014) define conflict as a character forming a plan that is thwarted by another event, or would have been thwarted. In a plan with causal links and intention frames, a conflict is a threatened causal link in one character's subplan where at least one of the threatening or threatened steps is never executed; internal, external and environmental conflicts differ by who owns the threatening step (same character, another character, Fate/happening). Seven dimensions classify a conflict: participants, reason and duration (observable) and balance, directness, stakes and resolution (continuous 0-1 style measures). Study 1 (27 respondents, 23 finishing all three stories) found CPOCL's conflicts a superset of those readers reported; Study 2 (30 respondents) found the formula-predicted ordering was the top-ranked human ordering for balance, directness and resolution and fifth-ranked for stakes. The authors note durative actions and abstraction mismatches as li...
• How does IPOCL (Riedl & Young 2010) represent character goals, motivations and causal links, what flaws and completeness conditions does it enforce, what are its stated limits, and what can an outliner reuse? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  IPOCL extends partial-order causal-link planning with 'frames of commitment': each frame records a character, the goal they pursue, the steps they perform for it, a final step that achieves it, and a motivating step that causes the character to intend it. A plan is complete only if all preconditions are established, causal threats resolved, and every non-happening step belongs to some frame; three added flaw types (open motivation, intent, intentional threat) drive the search. The article gives definitions, an algorithm and a complexity bound but no formal soundness or completeness theorem: a text search of the PDF for theorem/lemma/proof found none. Its evaluation used 32 CS undergraduates answering why-questions about POCL- versus IPOCL-generated text, judged against the QUEST model, with a significant effect for 'poor' answers and a p of about 0.058 for 'good' ones, without controlling narrative length. Stated limits: every intention is achieved, so repeated failure and hero-vers...
• What concrete causality tests for a plot outline follow from the Greek and the Fyfe/Bywater/Butcher wording (dia tade vs meta tade, removal test, episodic plot, unexpected-but-caused, denouement from the plot)? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Aristotle's text supplies several checkable tests for linking incidents: (1) 'because of this' versus 'after this' (dia tade e meta tade, Poetics ch. 10); (2) a removal or transposition test for unity (ch. 8); (3) an 'episodic' label for plots whose episodes follow each other neither probably nor necessarily (ch. 9); (4) the best surprises are unexpected yet each follows from the other (ch. 9); (5) the denouement should come from the plot itself and not from a machine (ch. 15); (6) characters speak and act as a type of person probably or necessarily would (chs. 9, 15). Converting these to an outline checklist (adjacency labelling, remove-one test, machine-resolution flag) is my synthesis; the sources state the principles, not the checklist or any pass/fail threshold.
• What scene-level techniques and named failure modes does Freytag give for the introduction, rise, climax, return and catastrophe of a dramatic outline? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Freytag gives concrete part-by-part advice: open with a keynote, a finished scene and a quick transition into the exciting force; build the rise in stages, each a group of preparatory scenes plus a chief scene, with the next-to-last or last step keeping chief-scene weight; treat the climax as a large scene; keep the return to few characters and 'great scenes' because it is the hardest part; prepare the catastrophe in advance but insert a brief hindrance or prospect of relief just before it. He names failure modes: a separated prelude, a distracting counter-play second half, over-extended subordinate action, and a catastrophe that arrives as a surprise. He also says an action or a passion alone is not dramatic: the drama is the passion that leads to action and the action's effect on a soul.
• What exactly does Microsoft's WHAM/Muse release offer for gameplay ideation, and how do the Nature paper and the model card differ? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  WHAM is a single-game model (Bleeding Edge), 300x180 at 10 Hz, with a 1-second context window, built from a user study of game creatives and evaluated on consistency (FVD), diversity (Wasserstein) and persistency (blinded human labels). The released 200M and 1.6B checkpoints are research-licensed (non-commercial, no distribution), not real time, and domain-bound. The model card's 'Limited context length (10s)' conflicts with the paper's 1 s of context; the card's own '10 pairs' agrees with the paper.
• What did a working filmmaker say about using Noh's three-part form for screenplay structure, and what limits did he put on it? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  A celebrated director's 1975 advice to young filmmakers (known in English through a 1983 adaptation, read here on a blog) offers the symphony or the Noh three-part jo-ha-kyu as models for a screenplay, but says the symphonic structure is easiest for audiences today; he also cites Zeami's 'detached gaze' for watching actors. The glosses 'destruction' and 'haste' come from the translation as reproduced and differ from glossary definitions of johakyu as a three-segment theory of structure, performance and speed. No worked example maps it onto a film.
• What did Unreal Engine 5.1's documentation say about the OpenColorIO plugin and HDR display output for cinematics and virtual production? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  In Unreal 5.1 documentation, OCIO came through one OpenColorIO Configuration Asset used by the viewport/Play-in-Editor, Composure, Blueprints, nDisplay and Movie Render Queue, and the engine supported OCIO v1 configs only. Turning on the viewport OCIO display disables the Tone Curve, and MRQ's Color Output can apply an OCIO config and disable the Tone Curve, so whether written frames include the tone curve depends on that setting (see CA-B374 for MRQ file encodings). HDR display output was limited to 1000/2000-nit paths and D3D11 exclusive fullscreen. Confirm the engine release before relying on these limits.

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