Bibliographic record
Abstract
In many ways the arts community in Peterborough is made up of various allied factions. However, curator Liz Fennell's call to all artists for site-specific work came with the intention of bringing those with a high degree of professional experience into proximity with emerging and amateur artists. This move could be read as an attempt to create some porosity between different degrees of artist recognition in order to demonstrate the full breadth of the community's practices. The City of Peterborough's future intent for St. Joseph's is for it to transition into affordable housing, gallery and performance spaces, community gardens and perhaps food programs. Site-specificity and interactivity were therefore integral to the Public Energy project as ways to facilitate public engagement with the site and draw support for its future use. Sculpture Projects Münster (1997) achieved a similar result for the small German town, and there are other examples in Canada: Shorefast President Zita Cobb's rejuvenation of Fogo Island, Newfoundland, is a case in point, albeit on a different scale. Cobb's decision to leave her work in technology and finance, move back to Fogo, and establish the Fogo Island Arts residencies program is an example of the w ay local identity pulls one back to home. Artists in Peterborough are similarly resilient, and they remain rooted regardless of the day-to-day stresses of living in an under-resourced municipality. For the past 20 years, Peterborough has witnessed the decline of the small manufacturing industries upon which the local economy relied. The resulting increase in unemployment is acutely noticeable when one walks Peterborough's main streets, where at least a third of storefronts lie empty and for lease. While Peterborough residents experience nowhere near the level of economic hardship that those living on Fogo Island do, Erring on the Mount is a preliminary nod in the same direction and demonstrates the potential to rethink the messaging of the city. Public Energy Artistic producer Bill Kimball knows this, hence his 20+ years of efforts to bring cutting edge contemporary dance to a small university town.
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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) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.001 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.015 | 0.003 |
| Scholarly communication | 0.009 | 0.005 |
| Open science | 0.001 | 0.007 |
| Research integrity | 0.003 | 0.006 |
| Insufficient payload (model declined to judge) | 0.296 | 0.098 |
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".