Notice bibliographique
Résumé
Lara Ayad is an independent researcher and art historian. She is the author of “The ‘Negress’ of Alexandria: African Womanhood in Modern Egyptian Art” (African Arts, Winter 2020). She currently hosts the television show AHA! A House for Arts on WMHT public media.Kaira Marie Cabañas is the 2021–22 William S. Seitz Senior Fellow at the Center for Advanced Visual Studies at the National Gallery of Art and Professor of Art History and affiliate faculty in the Center for Latin American Studies and Center for Gender, Sexualities and Women's Studies at the University of Florida, Gainesville. She is author of Immanent Vitalities: Meaning and Materiality in Modern and Contemporary Art (2021) and Learning from Madness: Brazilian Modernism and Global Contemporary Art (2018), among other volumes. She also served as editor of the Portuguese-language book O silêncio que as palavras guardam (2021), by artist and therapist Lula Wanderley.Elizabeth Harney is an art historian and curator at the University of Toronto, where she teaches art theory, histories of African modernism, and anticolonialism and global postwar visual cultures. As the inaugural curator of modern and contemporary arts at the National Museum for African Art, Smithsonian Institution, she designed the museum's collection policy and a suite of exhibitions. Harney is the author of Ethiopian Passages: Dialogues in the Diaspora (2003) and In Senghor's Shadow: Art, Politics, and the Avant-Garde (2004), as well as coeditor of Inscribing Meaning: Writing and Graphic Systems in African Arts (2007) and Mapping Modernisms: Art, Indigeneity, Colonialism (2018).Matthew J. Mason is a doctoral candidate at St. John's College and the Ruskin School of Art, University of Oxford. His research explores the relationship between art, exhibition, and politics in the modern and contemporary periods, with a particular emphasis on non-Western art, specifically that of Latin America and Australia.Dorota Jagoda Michalska is a PhD candidate at the Ruskin School of Art, University of Oxford. Her texts have been published in Afterall Online, L'Internationale, and Kajet Journal. She has also written for the Venice Biennale (2017), the Prague Biennale Matter of Art (2022), and Zachęta National Gallery in Warsaw, Poland. Her research currently focuses on questions of race and decoloniality within the context of Eastern and Southern Europe, as well as on global decolonial histories of surrealism(s).Slavs and Tatars is an art collective devoted to an area east of the former Berlin Wall and west of the Great Wall of China known as Eurasia. Since its inception in 2006, the collective has shown a keen grasp of polemical issues in society, clearing new paths for contemporary discourse via a wholly idiosyncratic form of knowledge production: including popular culture, spiritual and esoteric traditions, oral histories, modern myths, as well as scholarly research. Their work has been the subject of solo exhibitions at institutions across the globe, including the Vienna Secession; MoMA, New York; Salt, Istanbul; and Albertinum Dresden, amongst others. The collective's practice is based on three activities: exhibitions, publications, and lecture-performances. The collective has published more than twelve books to date, including most recently The Contest of the Fruits (2021).Alberto Toscano teaches in the School of Communication, Simon Fraser University, and the Department of Sociology, Goldsmiths, University of London. He is the author of Fanaticism: On the Uses of an Idea (2017, 2nd ed.) and coeditor of The SAGE Handbook of Marxism (2022). He edits The Italian List series for Seagull Books.
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 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 | 0,001 | 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) | 0,029 | 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 découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule tête enseignante, 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 ».