Bibliographic record
Abstract
Françoise Sullivan's name is perhaps still little known outside Canada, but the rich and multi-facetted work of this artist, who is nothing less than a monument-still very much alive and kicking-in the history of Canadian art, deserves special attention well beyond the borders of the country she was born in.Through the avant-garde nature of her multi-disciplinary praxis, she and her work have had a significant effect on both the visual arts and dance, in their modern and contemporary expression alike.Françoise Sullivan is a dancer, choreographer, performer, painter, sculptress, conceptual artist, poet and author, well-known as one of the signatories of the Total Refusal (1948) manifesto.As such, she is an artist who invariably evolves where she is least expected, tirelessly thwarting the easiness of doing and making in her different trajectories.1 Her work, which has been widely disseminated throughout her career, has enjoyed particularly enthusiastic attention over the past decade, with a dozen or so exhibitions and publications devoted to her.The recent update provided by the two catalogues published by the Galerie de l'UQAM and the Museum of Contemporary Art in Montreal invites us to demonstrate how the artist's hugely varied oeuvre and her constant refusal to reconcile herself to any kind of label upset the patriarchal doxa that has traditionally placed things feminine outside the art arena.Because Françoise Sullivan's activity has encompassed dance, sculpture, Conceptual Art, and figurative and then abstract painting, following a certain chronological path, she is rarely studied from the particular angle of any one medium.The theoretical and
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 | 0.001 | 0.003 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.002 | 0.001 |
| Science and technology studies | 0.022 | 0.005 |
| Scholarly communication | 0.009 | 0.002 |
| Open science | 0.001 | 0.002 |
| Research integrity | 0.003 | 0.004 |
| Insufficient payload (model declined to judge) | 0.114 | 0.020 |
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".