Bibliographic record
Abstract
This article analyses the regimes of transhistoricity that underlie re-creations, reconstructions, replays and reactivations of past performances. Approaching chains of transmission of performances as forms of transhistoricity makes it possible to remount them with the attitude of a genealogist (Foucault 2001). This means grasping the conflicts and the power relations that are inscribed within them in order to reveal ruptures, interruptions, discontinuities and dispersions. What reinterpretations of history do re-performances allow? What genealogies and counter-memories may emerge from the plays of repetition and difference that they present? What effects do the re-performers’ bodies – their states, their affects, and their singular corporealities – have?I conduct this reflection based on Françoise Sullivan’s Danse dans la neige, an emblematic choreographic work marking the advent of artistic modernity in Quebec. Improvised outdoors during the winter of 1948, this performance has come down to us through twenty photographs. I look at three specific moments: the reproduction of a first image in the automatist artists’ manifesto Refus global (1948); the publication of the entire corpus and its multiple re-mediations between 1977 and 2007; Luis Jacob’s installation A Dance for Those of Us Whose Hearts Have Turned to Ice (2007), in which a reinterpretation of Sullivan’s dance by a queer performance artist was screened.The transmission of Danse dans la neige falls under two contradictory transhistorical regimes. On the one hand, it is about negotiating one’s place in the narratives and institutions of Quebec art history, according to an authorial affirmation and a centripetal movement of the minority toward the majority system. On the other hand, it is a vector of deterritorialization and disentanglement by minority figures: the drag queen, the dog, the Deaf.
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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 | 0.007 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.003 | 0.002 |
| Science and technology studies | 0.008 | 0.037 |
| Scholarly communication | 0.006 | 0.007 |
| Open science | 0.001 | 0.008 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.015 | 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".