Home and reconstruction in the drawings of children in post war Lapland
Bibliographic record
Abstract
Home and reconstruction in the drawings of children in post war Lapland The expression "Winter and Continuation War" [1939–40 and 1941–44], established in the Finnish historical discourse, have erased the term Lapland War [1944–45] from the national memory of World War Two. Yet, Finnish Lapland experienced a collective material and mental disaster in the autumn of 1944, when retreating German troops destroyed the material culture, buildings and infrastructure of the province virtually in their entirety. I study the physical and mental landscapes of childhood in Finnish Lapland in the post war era during 1940s. The material consists of 141 drawings and paintings by Finnish school-children, collected by a Canadian relief worker. In this presentation I concentrate on images of home and housing. Interpretation of the material involves cultural perspectives that are informed by visual culture studies and that draw on individuals’ interpretations of place and the cultural context of the children´s drawings (Karin Aronsson (1997), Mieke Bal (1991), Gillian Rose (2001), Yi-Su Tuan (1977).) The children create the pictures in a particular visual culture, and all sets of images have a particular cultural perspective associated with them. The pictures are also interrelated. A place is not only a physical location but also a mental structure in which the individual lives in a meaningful relationship to world. Anniina Koivurova Anniina.koivurova@ulapland.fi Lapin yliopisto PL 122, 96101 Rovaniemi Key words: Second World War, history of art education, national imaginary, reconstruction Author biography This study is part of the project FEENIKS – Art and culture in the mental and material reconstruction process following the Lapland War. http://www.ulapland.fi/feeniks Koivurova, Anniina D.A. (Art and Design, 2010). Lecturer in Art Education, University of Lapland since 2014. Research Assistant, substitute Lecturer in Art Education and substitute Lecturer in Art and Culture Studies during 1997-2012, Lecturer in Visual Culture during 2012-2013; University of Lapland.
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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 | 0.001 |
| Bibliometrics | 0.002 | 0.002 |
| Science and technology studies | 0.005 | 0.008 |
| Scholarly communication | 0.004 | 0.002 |
| Open science | 0.001 | 0.002 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.007 | 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 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".