Why this work is in the frame
A frame that forgets how it found something cannot be audited. These are the routes that admitted this work.
Bibliographic record
Abstract
Funded by Arts Council England and AHRC. Doherty is editor of this collection and wrote the introductory chapter. The book describes and analyses the shift from studio-based to situated art practices. Unlike the exhibition catalogue or monograph which promotes a particular artist or a curatorial thesis, the book gives insights into the range of strategies artists and curators have used to approach given contexts. Ranging from relational aesthetics to the concerns of site-specificity, it examines the value of context in the commissioning and production of temporary art works, drawing upon case studies and commissioned essays. \n \nAs a result, Doherty received invitations to: Interface: Art and Contested Spaces, University of Ulster (2004); Experimental Communities, ARCO, Madrid (2005); Protections, Kunsthaus Graz (2006); Beyond the Studio, National College of Art and Design, Dublin (2007); Art in the Public Realm, Universities Venice, Milan (2007); New models of cooperation between the curator and the artist, Ludwig Museum, Budapest (2005); Contemporary Art, Fundacio La Caixa Barcelona. Doherty was invited to be inaugural Curatorial Fellow, Massey University, Wellington, 2006-09. \n \nBook reviewed in Flash Art magazine (2005), Gordon Dalton. Citations include "Architecture: Mouth Wide Open? Intervention by Invention", George Lovett, University of Sheffield, Rita L. Irwin, Kit Grauer, Ruth Beer, Gu Xiong, Barbara Bickel, "The Rhizomatic Relations of A/r/tography" University British Columbia, Stephanie Springgay, Penn State University; "Taking place: some reflections on site, performance and community", Research in Drama Education, 12:1, 1:14; Arts Council England, The power of art visual arts: evidence of impact (2006); Lizzie Muller, Ernest Edmonds, "Living Laboratories: Making and Curating Interactive Art Creativity and Cognition Studios", University Technology, Sydney; UKArtivistic, an international transdisciplinary event interPlay between art, information and activism (2005), Montreal QC (Canada). Book has become set text on curation and commissioning courses at Goldsmiths College, City University, New York.
Fetched live from OpenAlex and de-inverted. Abstracts are not stored in this database: the inverted indexes are 8.6 GB of the frame’s 9.3 GB of text, and the host has 13 GB free.
Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.002 | 0.001 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.001 | 0.000 |
| Bibliometrics | 0.000 | 0.001 |
| Science and technology studies | 0.002 | 0.001 |
| Scholarly communication | 0.001 | 0.000 |
| Open science | 0.001 | 0.000 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.000 | 0.001 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from it