Bibliographic record
Abstract
Gerta Moray. Unsettling Encounters: First Nations Imagery in the Art of Emily Cart. Vancouver: UBC Press; Seattle: University of Washington Press, 2006. 386 pp. Illustrations. Bibliographic essay. Index. $75.00 hc. Donald Ellis, ed. Tsimshian Treasures: The Remarkable Journey of the Dundas Collection. Dundas, ON: Donald Ellis Gallery; Vancouver: Douglas and McIntryre; Seattle: University of Washington Press, 2007. 144 pp. Illustrations. Bibliography. $55.00 hc. Charles C. Hill, Johanne Lamoureux, Ian M. Thom, curators. Essays by Jay Steward and Peter Macnair et al. Emily Carr: New Perspectives on a Canadian Icon. Vancouver: Vancouver Art Gallery, Vancouver: Douglas and McIntyre, 2006. 336 pp. Illustrations. Works in the Exhibition. Bibliography. $75.00 hc. Unsettling Encounters: First Nations Imagery in the Art of Emily Carr evolves out of Gerta Moray's doctoral dissertation, Northwest Coast Native Culture and the Early Indian Paintings of Emily Carr, 1899-1913 (University of Toronto, 1993). Marcia Crosby, a writer and historian of Tsimshian and Haida ancestry--as well as the grand-daughter of Clara and William Russ, whose portraits Carr painted in 1928--wrote the foreword. The Russes were, as Crosby notes, Cart's guides in 1912 to some of the Haida villages, the people she fictively named 'Jimmie and Louise,' each story titled by the names of places where they'd taken her to paint: 'Tampp,' 'Skedans,' and 'Cumshewa' (vi). They were also her hosts sixteen years later when she returned on a second northern expedition to paint in Haida Gwaii (vi). Carr wrote to Marius Barbeau in 1928 about her intended trip, want to get back, even if the poles are all gone I want to get the feel of the places again (291). The choice of Crosby to write a foreword for Moray's book is symptomatic of our times. It is a respectful response to sentiments, which Crosby voices, that aboriginal memories and perspectives are not foregrounded sufficiently in the telling of Canadian history/art history: Whether the questions Moray raises in her book will bring its readers closer to listening to First Nations' viewpoints about colonial history or Carr remains to be seen. But through Moray's text, I recognize Cart more clearly in a context I know and understand: race relations and the colonial and patriarchal history of British Columbia and Canada (vi). Moray herself pays tribute to E.S. Said when she observes that he has opened up a rich vein of exploration, showing how literary, scholarly, and political discourse on non-western cultures obeyed the thought structures, wishes and fantasies of the dominant West (3, 5). Moray divides her book into three parts. In part 1 she traces the course of white settlement along the British Columbia coast and its consequences for aboriginal peoples. She also explains the Victoria and Vancouver context in which Carr's life was lived, as well as Carr's own family history. Repeatedly Moray feels obliged to forgive Carr for what today must be seen as patronizing attitudes--among them, her belief that by recording the Indian totems she was somehow rescuing a dying culture. Nevertheless, Moray maintains repeatedly that Carr was more sensitive than her contemporaries to the plight of Aboriginal peoples and decidedly more appreciative of their artistic production. Such claims are made on the basis of limited and even questionable evidence. For example, Moray tells us that Carr went on her painting and sketching adventures without benefit of a camera. One really must question Carr's wisdom here, and ask Moray if this is truly evidence of cultural sensitivity, as she implies, or a bad idea on the part of someone who conscientiously wants to record Indian totems? In fact, as Moray subsequently tells us, Carr relied on others' photographs from time to time as visual guidelines for some of her paintings. Cart also appropriated Indian designs for her own pottery which she sold as tourist trinkets. …
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How this classification was reachedexpand
Direct model labels (unvalidated)
Per-model category and study-design labels from the labeling rounds. They are machine output, unvalidated, and the disagreement between models ships as data. No study design here is MEDLINE-validated yet.
| Model arm | Categories | Study design | Confidence |
|---|---|---|---|
| gpt | no category Domain: not available · Genre: Other About the Canadian research system: no · About a Canadian topic: yes | Theoretical or conceptual | low |
| opus | no category Domain: not available · Genre: Other About the Canadian research system: no · About a Canadian topic: yes | Theoretical or conceptual | low |
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 | 0.000 | 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 | 0.000 |
| Insufficient payload (model declined to judge) | 0.001 | 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, unvalidatedLabeled directly by 2 models reading the full record.
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".