Bibliographic record
Abstract
THERE ARE NO SOLID GOLD DANCERS ANYMORE Adrienne Weiss Gibsons, BC: Nightwood Editions, 2014 Adrienne Weiss does not simply write poetry; she builds poems. density of her pieces immediately impacts the reader as s/he wades through Weiss's skillful use of colourful language and copious references popular culture. overwhelming sense of abundance that is crammed into Weiss's fairly slim collection sets the stage for her exploration of capital/consumer culture; as such There are No Solid Gold Dancers Anymore presents itself as a microcosm for the very social climate that Weiss critiques, thus transforming the reader into a microcosm for the capitalistic consumer, making him/her keenly aware of the media and product bombardment s/ he is subjected during daily life. Weiss's collection, however, does not simply make a manic consumer out of its reader. Rather, the very density of her pieces forces a response opposite passive media baths we endure everyday. longer lines and generally lengthy pieces encourage, if not force, a slower reading pace and greater alertness. Each reference popular culture (e.g. songs, movies, plays, celebrities etc.) draws on the reader's own knowledge of and/or exposure the referenced material, thus creating a deeper connection between reader and the text than necessarily prevalent in everyday media encounters. Furthermore, the abundance of references, overwhelming as they may be, and the reader's potential ability make personal references many, increase the collection's ability highlight the degree of media we consume every day. But what effect? Weiss's stylistic approach her subject aptly foundations her varied but interconnected themes as they relate consumer society's values and ideals and the media's role in establishing and promoting such ideals, as well as an idealistic vision of continual, social progression. More importantly, Weiss further focuses her reader's attention around her major theme by addressing smaller issues that consumeristic social climate creates. Once Upon a Time and the collection of poems in the section entitled Production 1960, demonstrate how fairytales and the film industry impose unrealistic and limiting ideals of beauty and self. Even more focused, Weiss pays special attention the effects of the media's power control gender perceptions; in The Way You Look on Love, the speaker struggles to shun the books, / spent terminologies and years of obsessive scrutiny that consumed Princess Diana's life and painted her as a fickle young adventurer. …
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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 | 0.002 |
| Meta-epidemiology (narrow) | 0.001 | 0.001 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.002 |
| Science and technology studies | 0.003 | 0.002 |
| Scholarly communication | 0.007 | 0.003 |
| Open science | 0.001 | 0.003 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.290 | 0.169 |
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".