Notice bibliographique
Résumé
As an artist and engineer, I created The Great Tit is a Bird, a science fiction storytelling project that follows Black and Brown femmes and transfemmes, the losses they survive, and the ways they shape our high-tech era even as they are pushed to the margins. The project consists of an audio drama, 3D-animated narrative (fiction) films, and forthcoming animated documentary shorts, and immersive reality films. It was launched by Black and Brown women in the United States and Kenya as a way to creatively examine relationships between elite neoimperial academic spaces centered by the Global North, and women’s networks centered by the Global Majority. The project probes issues its creators have experienced firsthand, including techno-colonization, research misconduct, and threats to bodily/embodied sovereignty. In addition to gender and race, The Great Tit is a Bird explores vulnerability related to other marginalized identities its creators hold. These include disability, carceral status, socioeconomic status, and immigration status. While The Great Tit is a Bird is directly inspired by a range of real-world examples, from the East African women’s empowerment group Inua Kike to the male-dominated academic networks connected to sex trafficker Jeffrey Epstein, its focus on low-income people of color supports its ultimate liberatory goal: survivors of neocolonial aggression affirming solidarity for each other and their community. I originally launched The Great Tit is a Bird during the 2020 pandemic lockdown to process personal trauma—the death of a parent, a reckoning with childhood domestic abuse—as well as the professional challenges I’ve experienced as a student and teacher, conditioned by the banking system so prevalent in college-level STEM education. Since then, I have started to use The Great Tit is a Bird as a pedagogical tool amongst small groups of students. This feels like a genuinely transgressive act for three reasons: the project’s sensitive, personal themes; the sharing of such themes with STEM students conditioned to marginalize their own identities and experiences while in the classroom; and the cultivation of community within an engineering school. Like bell hooks, who originally regarded teaching as a job that would support her vocation as a writer (2) and eventually grew to realize that it was a vital part of her creative practice, I have grown to deeply value teaching as a time and space to cultivate creative community, particularly amongst underrepresented, underestimated, undervalued student technologists yearning to investigate, interrogate, critique and contribute to technical cultures. I am submitting excerpts from The Great Tit is a Bird (https://www.youtube.com/playlist?list=PLSSgjIjqx_paVQXWGaUXMQMTVoAC7Yp_x), which I would discuss with resonant passages from Teaching to Transgress and other relevant texts. I’m grateful for the opportunity to develop this new pedagogical tool, which I will use in sharing The Great Tit is a Bird with my students. To watch additional materials, visit https://thegreattitisabird.com.
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 | 0,003 | 0,002 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,001 | 0,000 |
| Études des sciences et des technologies | 0,008 | 0,016 |
| Communication savante | 0,005 | 0,003 |
| Science ouverte | 0,001 | 0,008 |
| Intégrité de la recherche | 0,002 | 0,003 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,009 | 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 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 ».