Review of <i>Everett Baker's Saskatchewan: Portraits of an\nEra.</i> Selected by Bill Waiser
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Notice bibliographique
Résumé
The photographs that Everett Baker (1893- 1981) took in Saskatchewan from the 1940s to the 1960s cover just about one-half of the province, mostly the prairie part, at the northern end of the Great Plains. An American citizen, Baker was not drafted into World War I because of an asthmatic condition; after obtaining a BS degree he went to work in Saskatchewan in the hope that the dry climate would be better for his health. There he sold books and farmed in the Palliser Triangle, soon sharing with its rural population the hardships that accompanied the Great Depression. This was for him and his wife the school of hard knocks: "Their second child, daughter Jean Marie, died before she was one. Everett was also struck down with typhoid fever, followed by a bout with Spanish influenza that nearly killed him. Then his father and two sisters perished in a car crash in Minnesota." In keeping with the cooperative entrepreneurial spirit then characterizing the province, he became involved in the Saskatchewan Wheat Pool Field Service Division, within which he showed education and entertainment-oriented films to sundry audiences in isolated communities: "By the end of the 1930s, field men were hosting about seven hundred film nights a year, a phenomenon that is remembered with affection to this day." Soon Baker would take advantage of these evenings to show his own slides of contemporary rural life.\nHe had bought a Leica in 1939, at the very end of the Great Depression. With the help of this lightweight camera and the recently developed Kodachrome 16 and 25 ASA films, he was able to take fine-grained, long-lasting color slides of local people and their landscapes. Two comparisons come to mind immediately: with Walker Evans and Henri Cartier-Bresson. In Let Us Now Praise Famous Men (1941), the former illustrated with stark black-and-white, mostly posed, photographs a poetic text James Agee dedicated to the rural poverty of the American South. As for CartierBresson, who also worked with a Leica, his blackand- white snapshots are famous for the artistry caught at what he called "the decisive moment."
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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 | 0,001 | 0,001 |
| Méta-épidémiologie (sens strict) | 0,001 | 0,001 |
| Méta-épidémiologie (sens large) | 0,001 | 0,001 |
| Bibliométrie | 0,001 | 0,003 |
| Études des sciences et des technologies | 0,001 | 0,003 |
| Communication savante | 0,000 | 0,001 |
| Science ouverte | 0,001 | 0,000 |
| Intégrité de la recherche | 0,001 | 0,001 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,009 | 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 découle