Bibliographic record
Abstract
Postcards compiled and edited by Barbara Lehman Set in the hustle and bustle of New York City’s Manhattan, Bob Staake’s Bluebird is a wordless narrative that brings together a shy young boy and a charismatic little bird in its exploration of both camaraderie and bereavement. After quietly observing the boy’s rough day at school under the jeers of some schoolyard bullies, the bluebird takes it upon himself to swoop in and befriend him. Staake’s effective use of multi-paneled spreads traces the nuances of the boy and the bluebird’s blossoming relationship as they play a game of hide and seek, share a cookie, and sail a toy boat at the pond where the bluebird connects the boy to the other friendly children playing around them. The increasing darkness of Staake’s grey, white, and blue palette brings with it a reappearance of the scowling bullies; and as the bluebird dives between the boy and the stick one of the bullies throws, the unexpected death of the bluebird is tackled head on by Staake through a small solid black panel followed by a zoomed in focus on the boy’s emotional changes from shock to grief and, finally, acceptance. The bullies fearfully run away, but in their place the boy is greeted by a flock of rainbow-coloured birds, which lift him and the bluebird high above the city skyline. Meant to be an open-ended conclusion to the book, the reader is encouraged to bring his or her own interpretation to the story – a powerfully visual and wordless way to escape didacticism and empower discussion about an intense subject matter. Melissa Li Sheung Ying Bluebird Bob Staake New York: Schwartz & Wade Books, 2013; 40 pp. ISBN 9780375870378 (Picture Book; Ages 4+) Kata Kata Kata The Building is a story about a treadle sewing machine, a little girl, and her grandmother. The machine amazes the little girl because it makes many beautiful things and answers her wishes. One day while her grandmother is halfway done making her drama costume, the machine stops working; therefore, the grandmother finishes sewing the costume by hand. Standing proudly on stage in the costume made by her grandmother, the girl realizes it is grandma who makes her wishes come true. To give her grandma a surprise, the girl and her father transform the out-of-order sewing machine into a table for the grandma to enjoy tea. Told from the girl’s point of view, Kata Kata Kata is a book full of sensory details. Through the words and pictures, readers see how the sewing machine works, hear its kata kata kata sound, smell the osmanthus, and feel the line of stitches on the cover. The endpapers show the motif of wallpapers in the girl’s home, which set the mood for the story. The unrestricted lines and strokes match the girl’s mischievous behaviors and imaginative mind. This book received the 2015 Feng Zikai Best Chinese Children’s Picture Book Award. Yi-Ching Su (Kata Kata Kata) Bei Lynn Illus. Bei Lynn Taipei: Art & Collection Group, 2014. 36 pp. ISBN: 978-986-6049-66-8 (Picture book; ages 5+) Canadian musician Stan Rogers composed the song “Northwest Passage” in 1981 to describe his own “passage overland, In the footsteps” of explorers and to remember John Franklin’s disastrous 1845 expedition to find the Northwest Passage. In this stunning book, recipient of Canada’s Governor General’s Literary Award for Children’s Illustration, Matt James combines paintings that accompany the song with illustrations about Franklin’s quest to discover the Northwest Passage, a sea route to connect the Arctic region with the Pacific Ocean. The resulting visual feast features colorful, expressive illustrations rendered in India ink and acrylic paint that depict the words of the song, the journey of Stan Rogers, and interesting facts about exploring the Northwest Passage. The song’s chorus refers to John Franklin, who lost two ships, 134 men and his own life, in his failed attempt to discover the Passage. An annotated timeline begins in 6000 BCE with the arrival of the first Arctic peoples and ends in 2012 with the lowest recorded ice levels in...
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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 | 0.003 | 0.031 |
| Meta-epidemiology (narrow) | 0.001 | 0.001 |
| Meta-epidemiology (broad) | 0.001 | 0.000 |
| Bibliometrics | 0.004 | 0.005 |
| Science and technology studies | 0.003 | 0.001 |
| Scholarly communication | 0.008 | 0.005 |
| Open science | 0.002 | 0.003 |
| Research integrity | 0.002 | 0.002 |
| Insufficient payload (model declined to judge) | 0.834 | 0.787 |
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".