Pourquoi ce travail est dans la base
Une base qui oublie comment elle a trouvé un travail ne peut pas être vérifiée. Voici les voies qui ont admis celui-ci.
Notice bibliographique
Résumé
Artist Statement Isaac Julien (bio) These photographic works—from my installations Western Union: small boats (2007), Ten Thousand Waves (2010), and PLAYTIME (2014)—take us from the desert outside Dubai, to the suburbs of Reyjkavik, the Yangtzee River, and Lampedusa in Sicily. They each show displaced people: those pushed or pulled around the globe by the flow of global capital. Made over eight years, they also show my gradual embracing of digital technologies for making images. A few weeks after the first shoot for PLAYTIME, I received the rushes; everything was on a hard drive. Image making is now as de-materialized as modern capital; even as it tries to depict capital, it shares its form. [End Page 933] Click for larger view View full resolution Isaac Julien, Young Soul Rebels (1991) 35 mm film, color, Dolby stereo sound (105 min.) Courtesy of the artist and the British Film Institute © Isaac Julien Click for larger view View full resolution Isaac Julien, Territories (1984) 16 mm film, color, sound (24 min. 6 sec.) Courtesy of the artist © Isaac Julien [End Page 934] Click for larger view View full resolution Isaac Julien, The Abyss (Playtime) (2013) Endura Ultra photograph (62.99” x 94.49”) Courtesy of the artist; Victoria Miro, London; Metro Pictures, New York; and Galería Helga de Alvear, Madrid © Isaac Julien Click for larger view View full resolution Isaac Julien, Playtime (2013) Double projection, edge blended, single screen ultra high definition with 5.1 surround sound (70 min. 12 sec.) Courtesy of the artist and Metro Pictures, New York © Isaac Julien [End Page 935] Click for larger view View full resolution Isaac Julien, Eclipse (Playtime) (2013) Endura Ultra photograph (70.87” x 106.3”) Courtesy of the artist; Victoria Miro, London; Metro Pictures, New York; and Galería Helga de Alvear, Madrid © Isaac Julien Click for larger view View full resolution Isaac Julien, Western Union Series No. 1 (Cast No Shadow) (2007) Duratrans image in lightbox (47.24” x 47.24”) Courtesy of the artist; Victoria Miro, London; Metro Pictures, New York; and Galería Helga de Alvear, Madrid © Isaac Julien [End Page 936] Click for larger view View full resolution Isaac Julien, All That’s Solid Melts Into Air (Playtime) (2013) Endura Ultra photograph (70.87” x 106.3”) Courtesy of the artist; Victoria Miro, London; Metro Pictures, New York; and Galería Helga de Alvear, Madrid © Isaac Julien [End Page 937] Click for larger view View full resolution Isaac Julien, Yishan Island, Voyage (Ten Thousand Waves) (2011) Endura Ultra photograph (47 ¼” x 63”) Courtesy of the artist; Victoria Miro, London; Metro Pictures, New York; and Galería Helga de Alvear, Madrid © Isaac Julien [End Page 938] Isaac Julien ISAAC JULIEN is a filmmaker and an installation artist. Born in 1960 in London, England, he has rapidly developed as an artist. He studied painting and fine art filmmaking at Central St. Martin’s School of Art and Design, from which he received a BA (First Class Honors) in 1984. From 1987-1989, he studied at Les Entrepreneurs de L’Audiovisual European, Brussells (Post-Doctoral). His 1989 documentary drama Looking for Langston established him nationally and internationally as a significant filmmaker, and in 2001 he was shortlisted for the Turner Prize. His audio-visual installations include Baltimore (2003) and Western Union (2007). PLAYTIME, his latest installation, premiered in January 2014 at Victoria Miro Gallery, London. He has steadily received numerous prizes, awards, and other honors for his work: Semaine de la Critique Prize for Young Soul Rebels, Cannes Film Festival, France (1991); Rockefeller Humanities Fellowship Award, New York University, Centre for Media, Culture and History, USA (1995); Wexner Museum Fine Arts International Artist Award, Columbus, Ohio, USA (1996); Pratt and Whitney Canada Grand Prize for Frantz Fanon: Black Skin White Mask, 15th International Festival of Films on Art (1997); Jerome Foundation Award, USA (1998); Andy Warhol Foundation Award, USA (1998); Jerome Foundation Award, USA (2002); the Frameline Lifetime Achievement Award, San Francisco, USA(2002); Grand Jury Award, KunstFilmBiennale, Cologne, Germany (2003); Best Documentary for Derek, Milan International Lesbian and Gay Film Festival, Milan, Italy (2008); Off Festival Award from PHotoEspaña for Ten Thousand Waves at Galería Helga...
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 | 0,000 |
| 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) | 0,006 | 0,002 |
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