Notice bibliographique
Résumé
There is a longing for resolution in insomnia. A desire to find the key that will unlock the door to sleep; to end the staring, the turning, the pacing; to slow the recurring thoughts that spin with building momentum. This quest for relief is evident in The Insomnia Drawings of Louise Bourgeois. Bourgeois considers her 220 Insomnia Drawings to be a single work. They were made in the nighttime hours during a particularly severe bout of insomnia that lasted from November 1994 to June 1995. Like much of her work, these drawings are conjured from childhood memories, which resurface here in the form of abstract images infused with an underlying sense of anxiety. Produced during a time of undesired consciousness, they represent a way to resolve and conquer sleeplessness. Born in Paris in 1911, Bourgeois emigrated to the United States in the 1930s. She is best known as a sculptor, but her works have never been limited by one particular medium, as they incorporate anything from wood to glass, string to rubber. Rendered in ink, gouache, pencil and crayon, The Insomnia Drawings are similarly diverse. But it is the invocations of the past that join this work with her others. Memories find their way into these drawings through recurrent motifs of water, music and plant life. The images that appear from the abstracted designs seem to move, like the objects they suggest, in flowing, undulating and waving patterns. Many of the lines in the drawings form spirals that appear to drift away from or toward the viewer. The effect is like staring at a hypnotist's wheel, a device to lure subjects into a trance or to invoke long-forgotten memories. There are circular forms that interconnect, overlapping in patterns that flash like the spots of light one sees with closed eyes after staring into the light — or like unwanted, lingering memories. There are lines that seem to hang from the top of the page and blow in the breeze, like swinging laundry, or like the gentle rocking that sends a baby into sleep. There are lines that close on one another to form the deep hallways we run through in nightmares; and there are lines that spiral downward into bottomless pits, creating a sense of endless vertigo. Interspersed among the images are fragments of text that are sometimes random and sometimes organized into sentences or poems. These reinforce the idea of art as a personal journal or diary, a mechanism to rid the tired mind of circling demons. Three of the pictures are of clocks whose numbers join together in a circle and register the progression of time moving relentlessly forward with its mocking, tick-tocking march. These pictures are filled with the anxiety of recurring thoughts and reveal the distress of irresolvable emotion. The repeated patterns of spirals and waves seem to be trying to lure obsessive ideas into peace through a process of self-hypnosis, but these drawings are not calming. Anxiety and the desperate desire to resolve this anxiety seem to chase one another around in circles, hoping for eventual fatigue. The images are filled with agitation. They grasp for peace. They go beyond the quest for sleep, and search for a deeper sensation of psychological well-being. Jonah Samson Family Medicine Resident St. Michael's Hospital Toronto, Ont. Figure. Louise Bourgeois (1994–1995). From The Insomnia Drawings, 220 mixed-media works on paper of varying dimensions. Detail shown here: ink, charcoal and pencil on paper, 29.6 cm х 22.8 cm. Daros Collection, courtesy Cheim & ... Figure. Louise Bourgeois (1994–1995). From The Insomnia Drawings, 220 mixed-media works on paper of varying dimensions. Detail shown here: crayon, pencil and charcoal on paper, 22.7cm х 30.5 cm. Daros Collection, courtesy Cheim & ...
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 | 0,002 | 0,002 |
| 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 | 0,002 | 0,000 |
| Communication savante | 0,000 | 0,000 |
| Science ouverte | 0,000 | 0,000 |
| Intégrité de la recherche | 0,001 | 0,003 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,007 | 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; les deux têtes enseignantes s’accordent sur ce qui est montré ici.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».