LLMs now sit on every side of evaluation: as examinees scored on benchmarks, judges of other models' outputs, and raters of human-generated content. Each paradigm can be viewed as a measurement problem, where a latent property of an object is probed with items from an instrument (e.g., benchmark) by judges or raters. Standard evaluation practices often neglect the contributions of each core component to the end result, limiting our understanding of what is being measured. Rasch measurement theory (RMT) is well-suited to this problem. RMT decomposes ordinal ratings into separable facets on a common scale. It further provides a battery of diagnostics that can identify miscalibrated measurements and rater biases. We present a case study of RMT applied to the LLM-as-rater paradigm using the Measuring Hate Speech corpus, whose construct was itself built under RMT. We fit a series of many-facet Rasch models to annotations from nine LLMs spanning families and capability levels. Our analyses show that LLMs systematically differ from human raters in severity, item-level calibration, question-order robustness, target-identity sensitivity, and rating scale use, all of which standard evaluation practice would largely obscure. Overall, we argue that RMT belongs in the toolkit for evaluating LLM-as-examinee, -judge, and -rater paradigms.
Language models are increasingly used to quantify cultural phenomena, but what makes such measurement distinctively cultural? This paper argues that NLP work on culture is a material-discursive practice: the apparatus -- model, data, annotation, evaluation -- participates in constituting the cultural reality it measures, rather than passively recording it. Drawing on Karen Barad's concept of the agential cut -- the contingent boundary between phenomenon and instrument -- I show that the apparatus's substantive design choices draw such boundaries, and that the boundary is entangled from the start because language models have already internalized much of the cultural material they measure. I illustrate this through three case studies on television and film dialogue (measuring structure, interaction, and deviation) and three examinations of the apparatus itself (erasure of cultural markers, attunement to historical material, and agency in an agentic workflow). This big picture analysis proposes a research program that is theory-driven, empirically rigorous, and culturally contingent, treating each agential cut as a conscious commitment, at once methodological and ethical.