Notice bibliographique
Résumé
Abdul Halik Azeez is a multidisciplinary artist and organizer based in Sri Lanka. His artistic practice delves into the interplay between technologies of power, contemporary culture, lived experiences, and media. His practice predominantly draws from the postwar transformations that have impacted his country, such as the effects of gentrification, economic crises, tourism, and renewed ultranationalist politics. In 2019, along with artist and curator Sandev Handy, he cofounded The Packet, a collective of emerging artists from Sri Lanka committed to hyper-locality, playfulness, and collaborative process.Boyoung Chang teaches in the Department of East Asian Studies at the University of Alberta. Chang's research focuses on photography and art created in and about modern and contemporary Korea. Chang has published articles about the visualization of Korea, including “When Photographs Refuse to Speak: Oh Heinkuhn's Gwangju Story” (2022), and “De/Bordering Korea: North Korea Represented in Liminal Space” (2023).Pamela N. Corey teaches in the Art and Media Studies program at Fulbright University Vietnam in Ho Chi Minh City. She is the author of The City in Time: Contemporary Art and Urban Form in Vietnam and Cambodia (2021). She was the guest coeditor of “On Modern and Contemporary Cambodian Art and Aesthetics,” a special issue of Udaya: Journal of Khmer Studies (2014), and “Voice as Form,” a special issue of Oxford Art Journal (2020).Iftikhar Dadi teaches in Cornell University's Department of History of Art. He is the author of Lahore Cinema: Between Realism and Fable (2022) and Modernism and the Art of Muslim South Asia (2010). He is the editor of The Lahore Biennale Reader 01 (2022) and Anwar Jalal Shemza (2015). Dadi coedited The Art and Architecture of Migration and Discrimination: Pakistan, Turkey and Their European Diasporas (2023); Lines of Control: Partition as a Productive Space (2012); and Unpacking Europe: Towards a Critical Reading (2001). He also curated Pop South Asia (2022) at the Sharjah Art Foundation. As an artist, Iftikhar Dadi collaborates with Elizabeth Dadi.Lalitha Gopalan teaches in the Department of Radio-Television-Film at the University of Texas at Austin. Her books include Cinemas Dark and Slow in Digital India (2021); Cinema of Interruptions: Action Genres in Contemporary Indian Cinema (2002); Bombay (2005); and the edited volume The Cinema of India (2010).Ellen Larson teaches contemporary art from Asia in the Center for the Art of East Asia at the University of Chicago. They are also a 2024 Margaret F. Williams Memorial Art Curatorial Fellow at the Asian Art Museum of San Francisco. Larson's scholarship has appeared in many international publications, and they have curated exhibitions and cultural symposia throughout Asia and the United States.Nancy P. Lin teaches in the Department of History of Art at Cornell University. She cocurated the exhibition Between Performance and Documentation: Contemporary Photography and Video from China (2023) at the Johnson Museum of Art. Her recent publications have been featured in Art Journal, Journal of Contemporary Chinese Art, and other edited volumes and exhibition catalogs.Luke Robinson teaches film studies in the Faculty of Media, Arts, and Humanities at the University of Sussex. He is the author of Independent Chinese Documentary: From the Studio to the Street (2013) and the coeditor, with Chris Berry, of Chinese Film Festivals: Sites of Translation (2017). His writing has also appeared in books and journals, including DV-Made China, The New Chinese Documentary Movement, Screening China's Soft Power, Positions: Asia Cultures Critique, Screen, and Journal of Chinese Cinemas. From 2019 to 2024, he was a co-investigator on the AHRC-funded grant “Independent Cinema in China: State, Market, and Film Culture,” which helped establish the Chinese Independent Film Archive (CIFA) at Newcastle University.
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 | 0,000 | 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) | 0,000 | 0,001 |
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 ».