Notice bibliographique
Résumé
GRAMMAR & NOT-GRAMMAR: SELECTED SCRIPTS AND ESSAYS Gary Kibbins (Edited by Andrew J. Paterson) Toronto: YYZ Books, 2006, 256 pp. Reviewed by Kenneth White Throughout Grammar and Not-Grammar Gary Kibbins emphasizes the value of good writing, and indeed this vital anthology presents Kibbins's incredible command of text. Kibbins nimbly sculpts language with a refreshing and accessible sense of play. Grammar and Not-Grammar exhibits the rich diversity of Kibbins's writing and provides an opportunity to investigate his film and video texts as well as appreciate his timely engagement with the crises of articulation in the political and critical fields of art. Texts are arranged in alphabetical order, resulting in a commingling of forms (a poem followed by a script, followed by a critical essay, followed by a script, and so forth). Each text presents exciting and complimentary perspectives that showcase Kibbins's versatility as a provocative cultural theorist and brilliant contributor to the media arts. Kibbins's passion for the generative possibilities of nonsense, Alfred Jarry's 'pataphysics, and experimental production, guides all his writing in this collection. Belief in the alphanumeric alongside suspicion of images is at the root of Kibbins's engagement. The resilience of language encourages self-reflexive critique while images are docile...unreliable. Images are signification on drugs, but bad drugs and have no mystery. They are not to be trusted. Nonsense is a fluid and paradoxical framework, offering multiple points of creative interrogation beyond institutionally sanctioned modes of exploration and evaluation. It is generative, active, potential endowed with the utmost precision and clarity of revision, limiting neither text nor image. In his essay Ass Bowl Comedy: Nonsense and Experimental Film, appearing for the first time in Grammar and Not-Grammar, Kibbins writes, Once in the field of nonsense, one has permission to ignore the customary pressures to interpret, setting the boundaries of nonsense by its endless distinctions in opposition to dream, magic, and metaphor and their characteristic synthesis and fusion. Kibbins provides entry to his argument via Sailboat by Joyce Wieland, a three-minute continuous shot of a sailboat. The word appears for the duration of the work in the top third of the frame. Kibbins addresses previous studies of nonsense, specifically The Field of Nonsense (Elizabeth Sewell), Nonsense (Susan Stewart), The Logic of Sense (Gilles Deleuze), and The Philosophy of Nonsense (Jean-Jacques Lecercle), and their focus on the limits of language, independence from images, and the seductiveness of abstraction. Kibbins argues that rather than relegating text to descriptors in the service of images, the very discrepancy between the semantic values of an image of a sailboat and the word is the most fertile ground for exploration. Kibbins is suspicious of images, but he is excited by their underappreciated links with language. He recontextualizes Rene Magritte's painting The Treachery of Images and Marcel Duchamp's Bottlerack as prototypical nonsense works, and then focuses the second half of his essay on Zorn's Lemma, Hollis Frampton's film of intimidating semantic weight. Continuously frustrating logical investigation even by its namesake mathematical theorem, Zorn's Lemma, Kibbins states, is the definition of a nonsense work. It is a film of Uncertain relevance...of form without meaning, intellectual nonsense, or perhaps nonsense for intellectuals. In the first of the film's three sections a female voice reads the Bay State Primer grammar textbook. The twenty-four-character Roman alphabet orders the second section. Each letter is photographed in one-second shots as it appears in street signs, advertisements, and the like. The series repeats again and again over forty-seven minutes. In each subsequent cycle the letters are replaced by images, then the images by others. …
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 | 0,006 |
| Méta-épidémiologie (sens strict) | 0,002 | 0,000 |
| Méta-épidémiologie (sens large) | 0,001 | 0,000 |
| Bibliométrie | 0,003 | 0,004 |
| Études des sciences et des technologies | 0,004 | 0,003 |
| Communication savante | 0,006 | 0,003 |
| Science ouverte | 0,001 | 0,002 |
| Intégrité de la recherche | 0,001 | 0,002 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,021 | 0,011 |
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 ».