Bibliographic record
Abstract
A multi-layered artistic scene of site-specific urban interventions crosses the border cities of Detroit, Michigan, and Windsor, Ontario. Consumption-oriented approaches to scenes as clusters of urban amenities would disqualify these cities as loci of scenes: Detroit's scattered hip enclaves have had little influence upon neighbouring acres of abandoned buildings and vacant lots, whereas Windsor has promoted a new downtown cultural district and university campus but remains dotted with empty storefronts and boarded-up structures. Yet, scenes are deeply engrained in their imaginaries – famously in Detroit's many musical scenes, but also historically in cross-border mobilities of peoples and goods. Simultaneously integrated and divided, Detroit/Windsor is riddled with tensions between cross-border circulation and the border's increasing impermeability, and between images of stasis and transformation. An experimental scene of creative collectives and site-specific projects has responded to these tensions, disordering the material character of urban spaces and the built environment, the people, things, and media that pass through them, and their legal and institutional frameworks. Empty spaces, low rents, the circulation of discarded objects, the shifting economic conditions of skilled labour and ‘making’ cultures, and the availability of academic institutions have all contributed to these creative initiatives. Projects to stabilize neighbourhoods within Detroit are complemented by projects in Windsor that address forms of urban crisis deeply linked to Detroit's future. Windsor art collectives enter into an asymmetrical dialogue with site-specific projects in Detroit as both insiders and onlookers, not in the sense of idle urban spectators but as an audience expressing its intimate knowledge of Detroit's history and current conditions. In opposition to each city's hurry to demarcate cultural districts and creative economies, the projects I describe are oriented to cautious and considered transformation grounded in dialogue, workshops, research and planning.
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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 | 0.000 | 0.001 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.006 | 0.001 |
| Scholarly communication | 0.005 | 0.002 |
| Open science | 0.001 | 0.004 |
| Research integrity | 0.001 | 0.001 |
| Insufficient payload (model declined to judge) | 0.243 | 0.028 |
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".