Bibliographic record
Abstract
Recently, the Metropolitan Museum of Art in New York, a hallowed cultural institution, was transformed into an ecclesiastical couture extravaganza through the installation of the Anna Wintour Costume Institute’s latest exhibition, Heavenly Bodies: Fashion and the Catholic Imagination. This exhibition showcased papal finery as well as gorgeous couture gowns juxtapositioned with icons from the Met’s collection in various galleries, some even installed within vitrines where fashion objects nestled right in beside antiquities. This exhibition went on to become the highest attended (and therefore also highest grossing) exhibition in the museum’s history, and while undoubtedly a beautiful spectacle, it also bought up relevant issues of didactic cultural display, the incursion of commercial interests in public institutions, and which voices are included and which are excluded from this specific display. Of particular note are some of the other messages that have been inspired by a Catholic “imagination,” both implicit and explicit, especially in how they relate to LGBTQ+ people and the original intentions of some of the designers. Ultimately, the exhibition inadvertently illuminates what is truly worshiped by a contemporary, urbane, non-believer living in a secular society: fashion. This paper is an exploration of some of the larger themes that are brought up when secular and religious iconography are brought together in a large-scale public institutional display, and also includes an experiential review of the exhibition by the author at both the Met 5th Avenue as well as the Cloisters locations.
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 | 0.004 | 0.002 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.018 | 0.036 |
| Scholarly communication | 0.009 | 0.006 |
| Open science | 0.001 | 0.007 |
| Research integrity | 0.002 | 0.006 |
| Insufficient payload (model declined to judge) | 0.005 | 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".