Bibliographic record
Abstract
A Position Between Two Curves is a site specific public installation at the Tate Britain that was curated as a contribution to the exhibition Days Like These, The Tate Triennial of Contemporary British Art, 27 Feb - 26 May 2003. The Atterbury Street Manton Entrance of Tate Britain has two alcoves built out of the stone wall at each side of the entrance area, the artist amplified these to act as something like parabolic reflectors, creating a narrow focussed acoustic zone across the entrance where the sound of the space becomes hyper-real. The development of this installation had to cope with a much less controlled situation than the artist’s previous work, high levels of background noise and large numbers of visitors, plus the exposure of microphones to extremes of temperature and humidity - in parallel with this it was important to maintain the scale, volume and complexity at a level which creates a coherent individual experience. A principle of this body of work is that the visible space must be the same as the acoustic space which the work will explore. Eye and ear and brain on a human scale. This work consisted of two circuits of microphone, loudspeaker and noise gate. The microphones pick up the ambient sound of the space, acoustically focussed by the curved surfaces at each side of the entrance area and build it up to the point of feedback. This sound is cut off by the noise gate when a defined volume is reached allowing the listener to become part of the process. The work was documented in the catalogue for Days Like These, edited by Judith Nesbitt and Jonathan Watkins. The artist’s work was considered in two catalogue essays, by Andrew Wilson and by Jonathan Watkins.
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 | 0.007 |
| Meta-epidemiology (narrow) | 0.001 | 0.001 |
| Meta-epidemiology (broad) | 0.001 | 0.001 |
| Bibliometrics | 0.002 | 0.002 |
| Science and technology studies | 0.001 | 0.000 |
| Scholarly communication | 0.002 | 0.002 |
| Open science | 0.002 | 0.003 |
| Research integrity | 0.002 | 0.003 |
| Insufficient payload (model declined to judge) | 0.407 | 0.254 |
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".