Notice bibliographique
Résumé
By way of figuration, implicatedness, and other interdisciplinary concepts, this essay contextualizes and critiques Lincoln Clarkes's acclaimed book of photographs of unnamed women pictured as heroin on Vancouver's Downtown Eastside, where many women are missing and murdered. ********** Having one's photograph taken and displayed will not cure a heroin addiction; it does, however, encourage people to remember that are not nameless outcasts, and that we all have a responsibility to recognize their struggle.--Barbara Hodgson, Heroines: Printed on the cover of Heroines: by Lincoln Clarkes is a photograph of a blonde figure leaning in the doorway of a seedy cafe (Illus. 1). Her arms are open, her gaze is upon us, the door is open. Captions come to mind: Welcome to my world, Take me I'm yours, She's asking for it, who can't be raped, Prostitute, Drug Addict. Readers opening the book, passing through her open door, enter the world which Clarkes makes through his photographs of women he pictures as heroines: women heroin who live on Vancouver's Downtown Eastside. How does she look to you? In this photograph, and in the other unseen photos referred to in this essay, what culturally meaningful signs is Lincoln Clarkes mobilizing? (Signs: seedy cafe; inviting woman; cardigan pushed off bare shoulders; black bra straps; lace halter top; tie dangling between thighs; bare belly; thin; stoned.) Is it meant to look like she is selling sex to get money for drugs she is addicted to; as if she is implicating herself? She is represented corroborating--sexualized, objectified, com-modified, a spectacle. (The spectacle is not a collection of images, but a social relation among people, mediated by images [Debord n.p.; emph. mine].) Is she meant to look like she is in survival sex trade work, which means that for her, then, a pimp, a drug habit, or extreme poverty leaves her with no other option (Gardner)? Still, in a shutter's moment, she's set in perpetuity. Fixed. [ILLUSTRATION OMITTED] In her Foreword, quoted above, Barbara Hodgson encourages people to remember that addicts are not nameless outcasts (xiv). Looking through Heroines for the photographed woman's name, I find a List of Photographs ordered by page number or photograph number, by date and location. She is Cover: July 3, 2001|King's Cafe, 350 Powell Street. None of the book's authors explains why the women photographed are nameless in Heroines. If they requested anonymity, if this is for their protection, why not say so? Why not use assumed names? Of the 112 photographs in Heroines, only three women are named in the essays: who Clarkes says died of a drug overdose (x); Sheila Egan (missing) (Allen 125); and Patricia Johnson (missing and presumed dead, Dietrich-Campbell 111). Robert Willy Pickton has since been charged with the murders of Patricia Johnson and fifteen other women. Five of the women whose remains would ultimately be found on the farm are pictured in Heroines, states Seattle writer Charles Mudede in a tell-all feature article titled Death Farm: The Geography of Pig Farmer Robert Pickton, the Man Suspected of Having Killed Over 60 Vancouver, BC, Sex Workers. Searching for more names of women Clarkes has pictured as heroines, I begin to notice that the women's words are absent too, that there are no statements by the women Lincoln Clarkes has photographed. Women missing names, missing words, missing women on Vancouver's Downtown Eastside. The thing she got most from me, next to money and a few tears, was time. And I enjoyed every minute of it.--Clarkes, x In his introductory remarks, titled Leah, Lincoln Clarkes uses this film noir tone to tell us his version of Leah's story. This is how he represents his relation to her: a femme fatale. …
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) | 0,000 | 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 ».