Pourquoi ce travail est dans la base
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Notice bibliographique
Résumé
Conflict, Time, Photography TATE MODERN LONDON NOVEMBER 26, 2014-MARCH 15, 2015 Coinciding with the centenary of the outbreak of World War I, Tate Modern's latest photographic blockbuster addresses the photography of conflict at an interesting moment. Opening amid the painstaking removal of the 888,246 bright red ceramic poppies installed in the Tower of London's moat as part of Blood Swept Lands and Seas of Red (2014), by Paul Cummins and Tom Piper, in the lead up to the annual remembrance events of November 11, Conflict, Time, Photography appeared reserved in comparison. Becoming a site of public remembrance, the installation of poppies numbered to represent each of the British lives lost in the conflict attracted huge crowds. With its mostly black-and-white images of depopulated scenes of war captured after the event rather than in the heat of the action, the Tate's show couldn't hope to compete. Depicting the aftermath of the conflicts that have ravaged the world since the earliest deployment of the camera as an instrument of war, the exhibition includes historical recordings alongside contemporary critical reflections on past events, combining documents and artistic projects to produce interesting relationships, as well as some uncomfortable juxtapositions. Arranged according to the temporal lapse between event and subsequent photographic recording, the curation disrupts any usual chronology. Starting with Toshio Fukada's series The Mushroom Cloud--Less than twenty minutes after the explosion from 1945, hung next to Luc Delahaye's US Bombing on Taliban Positions from 2001, in which a plume of smoke hanging in the air indexes the recent detonation, that durational distance extends through the show, culminating with the nearly one-hundred-year lapse between Hrair Sarkissian's photographs of Istanbul's libraries and archives and his grandparents' forced flight from Eastern Anatolia to Syria in 1915 in Istory (2011), and Agata Madejska's recent photographs of the Canadian National Vimy Memorial in France, a monument to Canadian troops killed in WW1 in 25-36 (2010). Writing on just this photographic approach--what he describes as late photography--David Campany has criticized the numbing effect of the type of static, slowed photography that lends itself to situations like this: museums and art galleries far removed from any contemporary war zone. Offering up a moment of reflection more focused on the medium than the historical events depicted (or not, as the case may be), the works like a very photographic kind of photography and seem to do something no other medium does, that at best confirms their place within the modernist concerns of the art institution, while at worst reducing the content to a mute but convincing style. (1) By attempting to include contemporary reflections on the politics of war's representation, there are moments in which style threatens to trump substance: taken ninety-nine years later, Chloe Dewe Mathews's Private Joseph Byers, Private Andrew Evans, Time Unknown / 6.2.1915. Private George E. Collins, 07:30 / 15.2.1915. Six Farm, Loker, West-Vlaanderen (2013) from the series Shot at Dawn (2013) shows the site of the execution of military deserters in what is now an unmarked field. Its large-scale format and misty, atmospheric landscape is lovely to look at, but lacks the grit or purpose that its morbid title might suggest. Jane and Louise Wilson's neutral shots of German defense structures in Azeville, Urville and Biville (2006) seem similarly blank when seen in this context, as if expanding to the scale expected of the art gallery photograph the iconography of Paul Virilio's Bunker Archeologie (1975). The emphasis on desolate spaces inhabited only by abandoned architectural ruins is repeated in Simon Norfolk's series Afghanistan: Chronotopia (2001-02), in which conflict is traced as scars on the landscape and on the surface of buildings peppered by gunfire; and in Ursula Schulz-Dornburg's Kurchatov--Architecture of a Nuclear Test Site from 2012, showing sites of detonations carried out between 1949 and the end of the Cold War, and the bleak irradiated land left behind. …
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.
Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,000 | 0,000 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,000 | 0,000 |
| Études des sciences et des technologies | 0,000 | 0,001 |
| Communication savante | 0,000 | 0,000 |
| Science ouverte | 0,000 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,000 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,000 | 0,000 |
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 découle