Artists in the Archive: An Exploratory Study of the Artist-in-Residence Program at the City of Portland Archives & Records Center
Bibliographic record
Abstract
Reporting on components of an exploratory study (2013–14) of the inaugural artist-in-residence program at the City of Portland Archives & Records Center in Oregon, this article provides a view of the experiences and actions of the archivists, the artists, and the public arts manager participating in the residency. It pays particular attention to how the artists conceptualize, use, and respond to archival records, how and where the records circulate as works of art and poetry, and how connections are formed around the use and reuse of records. The study suggests that examining the records used in such a residency from the standpoints of their forms, uses, and paths through space and time is a productive way to reflect on the human transactions, experiences, and relationships that can occur between records, art, poetry, and the archive. RESUME En faisant le point sur des parties constituantes d’une etude exploratoire (2013-2014) sur le programme inaugural d’artiste en residence au City of Portland Archives & Records Center, en Oregon, ce texte presente un apercu des experiences et des actions des archivistes, des artistes et de l’administrateur des arts publics qui ont participe au programme. Ce texte porte une attention particuliere aux facons dont les artistes conceptualisent les documents d’archives, comment ils s’en servent, comment ils y reagissent. Il se penche aussi sur les raisons pour lesquelles les documents d’archives circulent comme oeuvres d’art et poesie, et les lieux ou ils circulent, ainsi que les liens qui sont forges entre l’utilisation et la reutilisation des documents d’archives. Cette etude suggere que l’examen des documents d’archives dont se sont servis les artistes en residence, du point de vue de leur forme, de leur utilisation et de leur trajet a travers le temps et l’espace, constitue une facon enrichissante de penser aux transactions, aux experiences et aux relations humaines qui peuvent se produire entre les documents d’archives, l’art, la poesie et les archives.
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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 | 0.007 | 0.011 |
| Meta-epidemiology (narrow) | 0.000 | 0.001 |
| Meta-epidemiology (broad) | 0.001 | 0.000 |
| Bibliometrics | 0.002 | 0.003 |
| Science and technology studies | 0.019 | 0.010 |
| Scholarly communication | 0.007 | 0.003 |
| Open science | 0.002 | 0.007 |
| Research integrity | 0.001 | 0.005 |
| Insufficient payload (model declined to judge) | 0.005 | 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 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".