Bibliographic record
Abstract
Video installation comprising freestanding steel wall approx 4m x 3m; surface of the steel treated with thick impasto of engineering grease; projected on to surface: video of rabbit being skinned in close and minute detail; 3-camera shoot; 23 mins looped. First shown as a screened work in Dérapage Controle, Montreal (November 2001) and later also presented in FIX’02, Catalyst Arts, Belfast (December 2002). Part of Bourke’s continuing enquiry into ‘scenographies of the felt’, ‘still life: nature morte’ is one of a series of video installations that draws on the Still Life tradition and attempts to rework relationships between object, materiality and video image. A concern of the series (which also includes ‘Dark Bride’ and ‘BlackDog’) is the materiality of the play of light and sound on surface. Each work centres upon a single object and examines the complexities that emerge from the result - or ‘aftermath’ - of certain simple actions wrought upon it. Works attempt to occupy a field of sensory experience in which the visual merges with one’s sense of one’s own body: of touch, movement, space and proximity. Thereby, they question the adequacy of conventional delineations of sense perception, and explore what differentiates the lived-out moment from other cognitive experiences invoked by iconography, representation, memory, narrative etc. ‘still life: nature morte’ was presented in ‘Against Nature’ (12/10/02-3/11/02), an exhibition curated and staged by Kunsthalle Faust, also including work by: Tomasz Wendland, Arec Ignaszek (Poland); Liu Guangyun, Qui Ping (China); Richard Bond (UK); Csilla Babinszky (Hungary); Nina Kovacheva, Valentin Stefanoff (Bulgaria); Anna Grunemann (Germany); and Risa Takita (Japan). As a direct result of his participation, Bourke was subsequently invited to present work in ‘Facing Nature’, Centre for Contemporary Art and Media, Poznan (March 2003).
Fetched live from OpenAlex and de-inverted. Abstracts are not stored in this database: the inverted indexes are 8.6 GB of the frame’s 9.3 GB of text, and the host has 13 GB free.
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 | 0.000 | 0.001 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.001 |
| Science and technology studies | 0.003 | 0.001 |
| Scholarly communication | 0.002 | 0.002 |
| Open science | 0.001 | 0.002 |
| Research integrity | 0.001 | 0.001 |
| Insufficient payload (model declined to judge) | 0.215 | 0.033 |
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".