This Is What It Sounds Like: <i>Intimate Karaoke, Live at Uterine Concert Hall</i>
Bibliographic record
Abstract
This article explores the role of sound in Intimate Karaoke, Live at Uterine Concert Hall, an interactive durational performance that features Dayna McLeod’s body as a concert venue. Here, practice-based methods that were used to generate knowledge through hands-on investigation and performance are detailed, as are experimentations with different presentations of her body and sound. This article discusses the relationship between this performance piece and failure, queerness, middle-ageing, and non-reproduction against a cultural backdrop that reveres art star success, youth, heterosexuality, and childbearing. In creating Intimate Karaoke, Live at Uterine Concert Hall, the artist was interested in proposing her uterus as a queer performance site in order to draw attention to these cultural biases while assigning a new kind of value to her middle-ageing, queer, female body. Sound is central to the formal circuitry of the piece as it shapes the representational status of her body and enables the performance to function. Intimate Karaoke is the umbrella term for both the formal construction of the performance and the affective methods of engagement that were employed in the creation of the work, which both rely on and challenge notions of vulnerability, intimacy, and familiarity. This article examines how the design of the performance focused the audience’s attention on the often heteronormative and reproductive expectations aimed at women’s bodies while questioning why we feel entitled to make demands on these bodies in the first place.
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 | 0.001 | 0.000 |
| Science and technology studies | 0.006 | 0.007 |
| Scholarly communication | 0.007 | 0.003 |
| Open science | 0.001 | 0.005 |
| Research integrity | 0.002 | 0.003 |
| Insufficient payload (model declined to judge) | 0.021 | 0.004 |
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".