Bibliographic record
Abstract
I have been working as a professional visual artist for a number of years with themes related to the cultural connections between art and medical science. In the past, I have incorporated scientific glassware, medical textbooks, test tubes, and surgical instruments into wall installations, sculpture-based works, chandeliers, and light boxes. While working towards a PhD in art history, my research in Canadian and European medical archives brought me to study various 19th-century anatomical atlases. Over the years I have continued to be intrigued by the way the Classical medical figure in these medical illustrations is represented as neither dead, nor alive— seemingly hovering between life and death. The image on the cover of this issue is from “The Disaster Series,” a total of 12 works done over a period of two years (2007 and 2008). I completed works from this series during a recent residency in digital imaging techniques at Daimon in Gatineau, Quebec. It is through a process of digital collage (using Photoshop and InDesign) that I have imposed on these scientific works a series of quite different images in order to reposition them within new allegorical settings that ultimately interrogate the ambiguities embedded within the traditional genre of anatomical science. “The Disaster Series” merges two genres of hand-drawn graphics; the lithographs illustrating 19th-century anatomical atlases and those that enlivened 19th-century journals, such as the London Illustrated News. These 19th-century disaster scenes are thus embedded into the deep anatomical regions of the body; shipwrecks swirl inside the cranium, fires burn away in the chest regions, volcanoes erupt in the lungs. These works represent the most interior regions of the human body as the site of both fear and memory; they suggest that psychologies, tragedies, felt losses, and sufferings lodge themselves deeply inside us, inside our anatomies. In many respects, this series connects the destructive event with the body and through this gesture forces an internalization of history.Figure: From “The Disaster Series”Cindy Stelmackowich, PhD (ABD)
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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 | 0.002 | 0.008 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.001 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.004 | 0.001 |
| Scholarly communication | 0.005 | 0.002 |
| Open science | 0.001 | 0.003 |
| Research integrity | 0.003 | 0.004 |
| Insufficient payload (model declined to judge) | 0.182 | 0.075 |
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".