Why this work is in the frame
A frame that forgets how it found something cannot be audited. These are the routes that admitted this work.
Bibliographic record
Abstract
Artist Statement Isaac Julien (bio) These photographic works—from my installations Western Union: small boats (2007), Ten Thousand Waves (2010), and PLAYTIME (2014)—take us from the desert outside Dubai, to the suburbs of Reyjkavik, the Yangtzee River, and Lampedusa in Sicily. They each show displaced people: those pushed or pulled around the globe by the flow of global capital. Made over eight years, they also show my gradual embracing of digital technologies for making images. A few weeks after the first shoot for PLAYTIME, I received the rushes; everything was on a hard drive. Image making is now as de-materialized as modern capital; even as it tries to depict capital, it shares its form. [End Page 933] Click for larger view View full resolution Isaac Julien, Young Soul Rebels (1991) 35 mm film, color, Dolby stereo sound (105 min.) Courtesy of the artist and the British Film Institute © Isaac Julien Click for larger view View full resolution Isaac Julien, Territories (1984) 16 mm film, color, sound (24 min. 6 sec.) Courtesy of the artist © Isaac Julien [End Page 934] Click for larger view View full resolution Isaac Julien, The Abyss (Playtime) (2013) Endura Ultra photograph (62.99” x 94.49”) Courtesy of the artist; Victoria Miro, London; Metro Pictures, New York; and Galería Helga de Alvear, Madrid © Isaac Julien Click for larger view View full resolution Isaac Julien, Playtime (2013) Double projection, edge blended, single screen ultra high definition with 5.1 surround sound (70 min. 12 sec.) Courtesy of the artist and Metro Pictures, New York © Isaac Julien [End Page 935] Click for larger view View full resolution Isaac Julien, Eclipse (Playtime) (2013) Endura Ultra photograph (70.87” x 106.3”) Courtesy of the artist; Victoria Miro, London; Metro Pictures, New York; and Galería Helga de Alvear, Madrid © Isaac Julien Click for larger view View full resolution Isaac Julien, Western Union Series No. 1 (Cast No Shadow) (2007) Duratrans image in lightbox (47.24” x 47.24”) Courtesy of the artist; Victoria Miro, London; Metro Pictures, New York; and Galería Helga de Alvear, Madrid © Isaac Julien [End Page 936] Click for larger view View full resolution Isaac Julien, All That’s Solid Melts Into Air (Playtime) (2013) Endura Ultra photograph (70.87” x 106.3”) Courtesy of the artist; Victoria Miro, London; Metro Pictures, New York; and Galería Helga de Alvear, Madrid © Isaac Julien [End Page 937] Click for larger view View full resolution Isaac Julien, Yishan Island, Voyage (Ten Thousand Waves) (2011) Endura Ultra photograph (47 ¼” x 63”) Courtesy of the artist; Victoria Miro, London; Metro Pictures, New York; and Galería Helga de Alvear, Madrid © Isaac Julien [End Page 938] Isaac Julien ISAAC JULIEN is a filmmaker and an installation artist. Born in 1960 in London, England, he has rapidly developed as an artist. He studied painting and fine art filmmaking at Central St. Martin’s School of Art and Design, from which he received a BA (First Class Honors) in 1984. From 1987-1989, he studied at Les Entrepreneurs de L’Audiovisual European, Brussells (Post-Doctoral). His 1989 documentary drama Looking for Langston established him nationally and internationally as a significant filmmaker, and in 2001 he was shortlisted for the Turner Prize. His audio-visual installations include Baltimore (2003) and Western Union (2007). PLAYTIME, his latest installation, premiered in January 2014 at Victoria Miro Gallery, London. He has steadily received numerous prizes, awards, and other honors for his work: Semaine de la Critique Prize for Young Soul Rebels, Cannes Film Festival, France (1991); Rockefeller Humanities Fellowship Award, New York University, Centre for Media, Culture and History, USA (1995); Wexner Museum Fine Arts International Artist Award, Columbus, Ohio, USA (1996); Pratt and Whitney Canada Grand Prize for Frantz Fanon: Black Skin White Mask, 15th International Festival of Films on Art (1997); Jerome Foundation Award, USA (1998); Andy Warhol Foundation Award, USA (1998); Jerome Foundation Award, USA (2002); the Frameline Lifetime Achievement Award, San Francisco, USA(2002); Grand Jury Award, KunstFilmBiennale, Cologne, Germany (2003); Best Documentary for Derek, Milan International Lesbian and Gay Film Festival, Milan, Italy (2008); Off Festival Award from PHotoEspaña for Ten Thousand Waves at Galería Helga...
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.
Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.000 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.000 | 0.000 |
| Scholarly communication | 0.000 | 0.000 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.006 | 0.002 |
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 it