Bibliographic record
Abstract
I wrote that in 1996, when a photograph that I had abandoned 30 years before came back to claim me. The image, of myself and three other young white women on camels in front of the Egyptian pyramids, acquires timelessness because all cars in the large parking lot are artfully invisible. I also wrote that "in the year 2000 I will have been here longer than there". I speak from a constituency that has no continuity with tradition, and which is removed from ancestors. It was the moment when I began to seek a visible format for the complexities of ambivalence. My ambivalence is probably shared by millions of people who have left their country of birth because political events, for better or worse, have overtaken their expectations. Not growing old with your siblings there - having a new family here - are but a part of the immigrant experience. ". I speak from a constituency that has no continuity with tradition, and which is removed from ancestors. This dislocation is a condition that affects most artists working with contemporary concepts, and it demands a negotiating of personal iconographies for each individual. A prolonged illness on arrival in Canada jolted me into turning away from my degree in African Studies and into becoming an artist, although I did not realize in 1966 that I was performing a redemptive ritual of recovery. Then, going against current art school formalist domination, I went even deeper into ritual by extending drawings into the labor intensive age-old technology of tapestry. The acquisition of skills and knowledge was a prolonged tapestry pilgrimage of necessity outside any institutions except for a post graduate year at the Edinburgh College of art in 1980. I did not think of it as performing mourning and recovery when I went to my loom each day to be immersed in an interface of repetition with intense concentration.
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.
How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.002 | 0.006 |
| Meta-epidemiology (narrow) | 0.002 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.001 |
| Bibliometrics | 0.002 | 0.001 |
| Science and technology studies | 0.006 | 0.005 |
| Scholarly communication | 0.006 | 0.004 |
| Open science | 0.001 | 0.007 |
| Research integrity | 0.002 | 0.002 |
| Insufficient payload (model declined to judge) | 0.093 | 0.033 |
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 itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".