Bibliographic record
Abstract
In this research, National Taiwan Museum of Fine Arts (NTMoFA) is the main subject to discuss how to interpret art history through public art museums. In this research, we first want to summarize and analyze the researches about the art history of Taiwan since the NTMoFA was founded. The second part is to characterize the concept and the presentation of the art historical exhibitions by the art museum. Last but not the least, to understand how to spread and construct the knowledge of the art history of Taiwan through the exhibitions. In 2013, the NTMoFA had a series of exhibition, “The Pioneers of Taiwanese Artists”, in the 25th anniversary. Series of “The Pioneers of Taiwanese Artists”, came from Shiji-The Pioneers Biographies, presented the collection dated between 1931 and 1980 and showed the artistic style and the influences from the artists. Through this exhibition series, the museum suggests a new direction for the research of Taiwanese art. This was an exhibition different from all other series. Would there be a different but new direction for the museum to understand the art history of Taiwan? How would they look upon the interpretation of the art history from the past quarter century? There are two main concepts, the research of Taiwan art history, and, the research of Taiwan art museum, weaved through the entire paper. To understand the art history, we compared and contrasted the pathway of Taiwan art research since 1945 and then classified the features from different era. The art museum, on the other hand, we focused on the relationship between the museum and the history. Furthermore, “The Pioneers of Taiwanese Artists”, were analyzed for the concept of the entire series, the preparation of the exhibitions, and the annotation of the art history. We understand the point of view of the museum through the collections, researches, and exhibitions of the NTMoFA. We hope to understand the hidden concepts of the Taiwan art history in the exhibition and to record the trace of the art research by museums in Taiwan.
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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 | 0.001 | 0.003 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.003 | 0.004 |
| Science and technology studies | 0.003 | 0.004 |
| Scholarly communication | 0.007 | 0.008 |
| Open science | 0.001 | 0.002 |
| Research integrity | 0.001 | 0.001 |
| Insufficient payload (model declined to judge) | 0.012 | 0.001 |
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".