Intermediality: An Introduction to the Arts of Transmission
Bibliographic record
Abstract
Intermediality has become a fashionable concept: it appears whenever we speak about what we once referred to easily as the medium or media, of systems and apparatuses, mises en scene and structures. It is used frequently in a number of different traditions, whether European, American or Australian. In some cases it holds the potential to redefine the purpose of an art or a specific medium. Consider the example that cinema provides: “its medium-specific possibility seems to have been well and truly overrun by its tendency to intermediality, its fundamental impurity. That is where its true materiality-effect, today, is situated: in the palpable aura of a mise en scene that is always less than itself and more than itself, not only itself but also its contrary, ever vanishing and yet ever renewed across a thousand and one screens, platforms and dispositifs” (Martin). But it’s important not to reduce intermediality to a simple intersection of mediums or media: “intermediality [...] refers to more than simply the sheer fact of a multimedia culture, or the mixing and copresence of many media forms within specific works” (Martin). In this way, theater, according to Kattenbelt, bears “a distinctive capacity to be a hypermedium which ‘stages’ other mediums” (37). Every art or media thus seems to find its means in other arts and media, unsettling the expected borders between them. It is important to generalize these judicious reappropriations: there is no pure medium. The impurity of the medium, as rightly emphasized by Adrian Martin, concerns all mediums. To some extent, a “media” (if we understand this term to refer to a specific medium that has been institutionalized, hence the plural form) is a stabilization system for each medium. Thus, it is important to outline a brief history of the formation of the concept of intermediality so as to better estimate its field of possibilities and what it might offer in terms of new ways of apprehending artistic or day-to-day phenomena.
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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 | 0.003 | 0.005 |
| Meta-epidemiology (narrow) | 0.002 | 0.001 |
| Meta-epidemiology (broad) | 0.001 | 0.001 |
| Bibliometrics | 0.004 | 0.004 |
| Science and technology studies | 0.006 | 0.018 |
| Scholarly communication | 0.016 | 0.020 |
| Open science | 0.003 | 0.006 |
| Research integrity | 0.005 | 0.008 |
| Insufficient payload (model declined to judge) | 0.025 | 0.007 |
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".