Rechanneling Desires for Indigeneity — with New Red Order
Bibliographic record
Abstract
Adam Khalil (Ojibway) is a filmmaker and artist who lives and works in Brooklyn. His practice attempts to subvert traditional forms of ethnography through humor, relation, and transgression. Khalil’s work has been exhibited at the Museum of Modern Art, Sundance Film Festival, Walker Arts Center, Lincoln Center, Tate Modern, Toronto Biennial and Whitney Biennial, among other institutions. Khalil is a core contributor to New Red Order (NRO) and a co-founder of COUSINS Collective. Khalil is the recipient of various fellowships and grants, including but not limited to: Sundance Art of Nonfiction, Jerome Artist Fellowship, and Gates Millennium Scholarship. Khalil received his BA from Bard College.\n\nZack Khalil (Ojibway) is a filmmaker and artist from Sault Ste. Marie, Michigan, currently based in Brooklyn, NY. His work often explores an indigenous worldview and undermines traditional forms of historical authority through the excavation of alternative histories and the use of innovative documentary forms. He recently completed a B.A. at Bard College in the Film and Electronic Arts Department and is a UnionDocs Collaborative Fellow and Gates Millennium Scholar.\n\nJackson Polys is a visual artist who seeks to dissolve artificial boundaries between perceptions of traditional Native art forms, practices, and contemporary life, and whose practice reflects an inquiry into the limits and viability of desires for indigenous growth. Prior to pursuing his undergraduate education in New York he worked as Alaska-based artist Stron Softi, with solo exhibitions at the Alaska State Museum and the Anchorage Museum, and has been engaged by museums seeking replacements for repatriated works. He obtained a BA in Art History and Visual Arts from Columbia University (2013) and holds an MFA in Visual Arts from Columbia University (2015). He is the recipient of a 2017 NACF Mentor Artist Fellowship and Advisor to Indigenous New York, the collaborative program initiative co-founded by Mohawk artist Alan Michelson and the Vera List Center for Art and Politics.
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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 | 0.005 | 0.005 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.019 | 0.042 |
| Scholarly communication | 0.014 | 0.016 |
| Open science | 0.001 | 0.011 |
| Research integrity | 0.002 | 0.006 |
| Insufficient payload (model declined to judge) | 0.010 | 0.001 |
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".