re:mote auckland :: sally jane norman
Notice bibliographique
Résumé
Sally Jane Normans presentation for re:mote auckland (http://www.remote.org.nz) pre-recorded at Newcastle. Sally Jane Norman Director, CultureLab, University of Newcastle http://www.ncl.ac.uk/niassh/culturelab/ http://www.ncl.ac.uk/niassh/culturelab/sjn.htm Doctor Norman's research spans performing arts, cultural theory, and technology. She has served many organisations dedicated to transdisciplinary research, including the Daniel Langlois Foundation in Montreal, the "Vida" Artificial Life Competition organised by Telefonica in Madrid, the Scientific Council of the Fine Arts Division of the French Ministry of Culture, and the Hexagram Creation and Research Committee in Montreal. Sally Jane Norman was born in Aotearoa/ New Zealand in 1953, where she studied music and dance, and earned Bachelor and Master of Arts degrees from the University of Canterbury. She pursued her research in Paris with a Doctorat de 3ème cycle (PhD) at the Institut d'Etudes théâtrales, Université de Paris III (1980), and a Doctorat d'état ès Lettres et Sciences humaines (1990). Parallel to French and English publications including studies for UNESCO and the French Ministry of Culture, Doctor Norman has run live performance workshops with digital tools at the International Institute of Puppetry in Charleville-Mézières, Studio for Electro-Instrumental Music (STEIM) in Amsterdam, Zentrum für Kunst und Medientechnologie (ZKM) in Karlsruhe, and European Festival of Digital Creation in Valenciennes. She organised the 1992 New Images and Museology Conference at the Louvre, and co-organised STEIM's 1998 TOUCH Festival and Symposium in Amsterdam, and IRCAM's Dance and Technology session at the 2003 Resonance Festival. Doctor Norman worked on EU R+D projects at the ZKM from 1996-1998 and became Director of the Angoulême site of the Ecole supérieure de l'image (ESI) in 1999. Nominated Director General of the school's two sites (Angoulême/ Poitiers) in 2001, she launched ESI's pioneering Digital Arts Doctoral Programme. re:mote auckland re:mote: auckland was the first in a series of one-day experimental festivals, bringing together new media art practitioners and theorists from Europe, Japan, Australia and New Zealand to discuss the theme of remoteness and technology. re:mote: auckland featured on-site, online and pre-recorded presentations analysing the way that digital technologies can augment collaborations across geographical and cultural distance. Artists and commentators from London, Newcastle, Helsinki, Rotterdam and Sydney gave presentations of their work via live video stream to an audience in Auckland. Presenters from around New Zealand also attended in person to share their work. re:mote is to be an ongoing series of events, which will take place at locations around the world. re:mote: auckland was the global premiere of this series. re:mote explores questions like: what does it mean to be remote in an electronic art world? Are there 'centres' and 'peripheries' within a world increasingly bridged, criss-crossed and mapped by digital technologies? Can technologically mediated communication ever substitute for face-to-face dialogue? Is geographical isolation a factor in contemporary art production? Is remote a relative concept? The keynote presentation was from Japanese artist, radio pioneer, and lecturer, Tetsuo Kogawa, who travelled to Auckland especially to present at re:mote, on the topic of technology and the body. He also performed with and demonstrated micro fm transmission. re:mote: auckland took place on Saturday March 19, 2005, from 10am to 7pm at the Elam School of Fine Arts lecture theatre. Introduction by Honor Harger. re:mote is organised by r a d i o q u a l i a and ((ethermap
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 | 0,005 |
| Méta-épidémiologie (sens strict) | 0,001 | 0,001 |
| Méta-épidémiologie (sens large) | 0,001 | 0,000 |
| Bibliométrie | 0,001 | 0,001 |
| Études des sciences et des technologies | 0,004 | 0,001 |
| Communication savante | 0,005 | 0,004 |
| Science ouverte | 0,001 | 0,004 |
| Intégrité de la recherche | 0,003 | 0,004 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,671 | 0,468 |
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 ».