Bibliographic record
Abstract
THE FILMS OF JACK CHAMBERS Edited by Kathryn Elder Toronto: Cinematheque Ontario/Bloomington: Indiana University Press, 2002. Cinematheque Ontario Monographs No. 5., 231 pp. Kathryn Elder's Films of Jack Chambers makes an important contribution to study of Canadian experimental film. Its annotated bibliography of writings on filmmaker, film title index keyed to bibliography, and filmography indispensable research tools for film students and scholars. In addition, there eight original essays (out of thirteen in all), editor's introduction, eleven brief statements by film programmers, critics and artists who testify to importance and impact of Chambers' work, plus Chambers' own brief statement of his intentions for C.C.C.I, (the film left uncompleted at his death), and a poem by Anne Michaels, The Day of Jack Chambers. book is liberally illustrated with photos of Chambers, reproductions of eleven of his paintings, and many frame enlargements. Handsomely produced and comprehensive in its coverage of Chambers' cinematic oeuvre, Films of Jack Chambers is a credit to high standards of Cinematheque Ontario's monograph series and Kathryn Elder's editing. Chambers' own thinking is represented by his essay Perceptual Realism, first published in Artscanada in 1969, and alluded to by several of Elder's contributors. Chambers' references to film in Perceptual Realism limited, however, to two ambiguous pronouncements: Where North American artists do embody an historic dimension [of advanced technology in arts] is in medium of personal filmmaking. They form a major part of film's 'roots' and making enormous advances in organic-mind growth of this art. Elder does not include Chambers' follow-up essay, Perception, Painting and Cinema, published in Art and Artists in 1972, presumably because much of it is a reprise of earlier piece. However, it is a shame not to have later essay readily available, since it offers a significant extension of Chambers' thinking in Perceptual Realism. earlier essay concludes, more we become familiar with experiences that perception brings more we become aware of an inherent gentleness in intercommunion of oneself with things. So gentleness of reception is also a communication that influences outside world. Finally, perception itself becomes a forgotten awareness that just is with all common naturalness of those common things seen out window or inside house or any place. Three years later, Chambers writes in Perception, Painting and Cinema, Perception in process is like a sound movie. Suddenly picture freezes and loses focus. sound goes. de-focusing brightens and becomes light.... moment of white is moment of perception.... On recovering senses after perceptual impact, one feels stark wonder of world and uniqueness of all its forms. We feel a deep and abiding affection for physical. What stays with us from day to day more or less consciously is this sense of gentle astonishment at world as it is. implications of such Zen-like expressions of wonder at the way things are (coming from a converted and practicing Roman Catholic, and a comparatively young man facing prospect of an early death from leukemia) noted by several of Elder's contributors, but no one pursues them in depth. Several writers do, however, emphasize interrelated perceptual, aesthetic, and spiritual concerns Chambers brought to his work as a painter and filmmaker. For instance, superimpositions in first part of Hart of London, particularly those combining positive and negative images, suggested to Stan Brakhage that the spiritual and physical represented by these things integrally bound. And without indicating an awareness of Chambers' reference to white in passage quoted above, Brakhage says, Sometimes, it's totally a white, world, where almost everything is wiped out by superimposing a lot of light shot again with another light shot. …
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How this classification was reachedexpand
Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.000 | 0.001 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.000 | 0.000 |
| Scholarly communication | 0.000 | 0.000 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.000 | 0.000 |
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 teacher head, 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".