Notice bibliographique
Résumé
Vancouver Art Gallery Vancouver, British Columbia, Canada March 18-August 13, 2000 organized by BildMuseet, Ume[dot{a}] Sweden The Mirror's Edge is proposed as a reflection in a destabilized hall of mirrors in which real arid imaginary play off each other infinitely. The viewer is caught in middle in a kind of Chaplinesque disorientation between image and fantasy. When curator Okwui Enwezor talks about the artist's return back into world as material rather than a virtual space, he includes viewers as well as images and objects in this new physicality. This materiality encompasses a space within which projected image is focused and into which viewer enters as an actor on stage--in this case, gallery itself is a site for artists' reflections on culture and its myths. At start of twentieth century, play of light was breaking up paint on canvas and phantasm of projected image was startling audiences in theaters in Europe and North America. This is era that Jonathan Crary identifies as beginning of modernism and a time that Theodor Adorno associates with occultation of image in which illusion constitutes itself in realm of absolute without having to renounce its claim to image world. [1] Modernism privileged subjectivity, of viewer through denial of body, sitting quietly in theater seats or standing respectfully in museum. The Mirror's Edge straddles turn of twenty-first century, and separation of viewer from physical reality that modernism required is no longer necessary. The photographic illusion is now incorporated and thoroughly accommodated as a factor of scale and a mechanism of production and display. Today effect of projections is tamed, almost quaint in compariso n to phantasms of that earlier era. An aspect of work that becomes more apparent is disorientation of body within this framework of illusion--the bumbling, gross physicality of body in space--by turning back and forth between two projected images, moving closer or further away to discover effects of illusion, rigidly clicking in front of a computer screen or wandering in constructed spaces of gallery. Enwezor's catalog essay characterizes art representing history as a of mise-en-sc[grave{e}]nes. It is hard to imagine a more perfect illustration than Thomas Demand's large-scale chromogenic prints from 1997-98 of meticulously constructed modern scenarios. In this series modernism is presented as a construction of social arid material space. The images provide a prespective on mathematical precision of digital imaging that they emulate in material form. Of note is an image of a well-clipped lawn, Rasen/Lawn, 1998, both for its amazing illusion of reality and its humorous reference to quotidian forms of modern architectural space and pervasive manicured green. These images are more captivating than equally beautiful images by Thomas Struth, Galleria dell' Accademia II, Venezia (1995) and San Zaccaria (1995) that situate viewer in a more relentless and didactic mirroring of viewing viewers viewing history in form of representations of birth and death of Christ. Liisa Roberts's piece to derive an approach (1998-99) includes two 16mm film projectors and looped images projected onto two elegantly draped backdrops. To view piece one must walk through a narrow door and in between two rear-screen projections so that images seem to deflect off of you in both directions. A sensor at door momentarily turns projection off as viewers go in and out of room. Viewing piece is considerably frustrating. The seductive illusion of film is entirely defeated by one's own intrusion into space. Roberts's talk at opening symposium was equally defeating. …
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Comment cette classification a été obtenuedéplier
Prédiction machine sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Le volet Gemma est une étiquette directe du modèle pour chaque travail de la base, lue sur la notice réduite au titre. Le volet Codex est un classifieur appris des 10 348 étiquettes directes de Codex et calibré sur les taux pondérés de l'échantillon; les champs sans appui suffisant ne portent aucun appel Codex. Le mode candidate est l'union des deux volets; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont pas des étiquettes humaines.
Scores du classifieur distillé par catégorie (deux têtes)
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,001 | 0,003 |
| Méta-épidémiologie (sens strict) | 0,001 | 0,000 |
| Méta-épidémiologie (sens large) | 0,001 | 0,000 |
| Bibliométrie | 0,001 | 0,001 |
| Études des sciences et des technologies | 0,008 | 0,001 |
| Communication savante | 0,009 | 0,002 |
| Science ouverte | 0,001 | 0,003 |
| Intégrité de la recherche | 0,002 | 0,003 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,383 | 0,195 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule source (Gemma direct ou Codex distillé), pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».