Bibliographic record
Abstract
The Vancouver-based artist Ron Terada has garnered a considerable international reputation from his often witty reworking of public signage, popular culture and art world ephemera and advertising, or as he has put it in an interview on the website Bad at Sports, "translations of what is out there."Fig. 1.Entering City of Vancouver, 2002, 3M reflective highway vinyl, extruded aluminium, industrial lights, galvanized steel, wood.In 2002, he had a copy fabricated of the City of Vancouver highway sign, which was shown inside the Catriona Jeffries Gallery in the city (Fig. 1).The relocation of the statement John Havelda Canada and Beyond 1-2 (2011): 2 "ENTERING CITY OF VANCOUVER" into an art gallery immediately points to Duchamp's readymades.The sign was built, but there is no suggestion of any difference from the standard road signs located on the city boundaries.Furthermore, as Michael Darling has noted, the sign disturbs conventional categories of art itself, since it "is almost a found object, mimics the flat frontality and lighting necessities of painting, takes up enough space to be a sculpture, and has the kind of energizing presence to make a claim as installation".(44) Perhaps more importantly, it refers to the legacy of the group of artists associated with the City of Vancouver-Ian Wallace, Roy Arden, Jeff Wall, Rodney Graham, Stan Douglas, and Ken Lum, and references the Vancouver Conceptual artists The N.E.Thing Company, Iain and Ingrid Baxter, who during the 1960s and 1970s erected signs to name and therefore amusingly claim ownership of various public sites (Fig. 2).Fig. 2. N.E Thing Co., You Will Soon Pass By, 1969, Virtual Museum of Canada, Web, 5
Fetched live from OpenAlex and de-inverted. Abstracts are not stored in this database: the inverted indexes are 8.6 GB of the frame’s 9.3 GB of text, and the host has 13 GB free.
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 | 0.000 |
| Bibliometrics | 0.002 | 0.002 |
| Science and technology studies | 0.014 | 0.006 |
| Scholarly communication | 0.007 | 0.003 |
| Open science | 0.001 | 0.002 |
| Research integrity | 0.003 | 0.008 |
| Insufficient payload (model declined to judge) | 0.021 | 0.010 |
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".