Bibliographic record
Abstract
Marie Clements is a complex and fascinating theatre artist: dramatist, actor, and director. Her plays are intellectually provocative and challenging, presenting Aboriginal and feminist issues in a highly “painterly” style; her website describes Copper Thunderbird as a “two-act play on canvas.” As Brenda Leadlay, Artistic Director of Presentation House Theatre, comments, the work is consistently “poetic, imaginative and moving.” Mixing western theatrical practice with techniques of Aboriginal storytelling and ritual, Clements interrogates specific historical events (as, for example, the serial murders of Aboriginal women, the development of the atom bomb, the reductive depictions of “The Indian Musicale”) and individual memories (as, for example, of domestic abuse, the traumatic residue of Residential school, and the repression of “The System Chorus”). As I have elsewhere argued at greater length, her vision is never simple. Typically, she considers a number of overlapping themes at the same time, simultaneously locating both the differences and the links among these political, racial, and gender strands in a layered semiosis (“Shine”). She combines visual and sound patterns,2 physical movement, and the fluidity of dreamscapes moving through time and space with hard, urban diction and apparently realistic plots (“Profile”). Her stylistic palate is equally complex: she embraces and—again—queries both the Western and Aboriginal modalities she employs, appropriates, re-appropriates, and revises (within the complexity of allusion in her early plays and more directly in her most recent work). Such hybridity and reference make her work compelling and invite examination; her work also presents a problem for analysis.
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 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 | 0.001 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.000 | 0.000 |
| Scholarly communication | 0.000 | 0.000 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.001 |
| Insufficient payload (model declined to judge) | 0.009 | 0.000 |
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 teacher head, 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".