Grounded in Place: Dialogues between First Nations Artists from Australia, Taiwan, and Aotearoa
Bibliographic record
Abstract
This paper introduces “Grounded in Place: Dialogues between First Nations Artists from Australia, Taiwan and, Aotearoa,” a special issue of Pacific Arts . It provides background information about the October 2021 online symposium of the same name, which brought together nineteen First Nations artists, filmmakers, and curators, along with non-Indigenous scholars and museum professionals, from Australia, Taiwan, Aotearoa New Zealand, and the Philippines. The symposium explored the relationships that First Nations creative practitioners in the Indo-Pacific region have to the land and sea. Each symposium speaker discussed their creative practice in relation to their panel’s theme: history and sovereignty, land and community, site and materials, or place and space. The journal issue comprises written and visual essays, an interview, poetry, and reflective pieces from symposium participants. The contributions are based on the participants’ presentations and have been expanded. While acknowledging the different political, social, and environmental contexts of each contributor, as well as their highly distinctive perspectives and creative approaches, some common themes have emerged in this volume, which the guest editors outline in this introduction. These centre on First Nations Peoples’ complex relationships with land and water as sites of appropriation and struggles for sovereignty, as sources of learning and creative production, and as places of ancestral being and continuous belonging, community, and culture. The introduction provides a brief overview of each contributor’s essay, as well as background on the collaboration between the institutions that convened the symposium: Queensland University of Technology, Taiwan’s National Museum of Prehistory, and Aotearoa’s Govett-Brewster Art Gallery | Len Lye Centre. It also fleshes out some of the similarities between the countries’ histories, particularly the ongoing effects of colonisation upon their respective First Nations Peoples.
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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 | 0.014 | 0.021 |
| Meta-epidemiology (narrow) | 0.001 | 0.001 |
| Meta-epidemiology (broad) | 0.001 | 0.001 |
| Bibliometrics | 0.004 | 0.004 |
| Science and technology studies | 0.036 | 0.031 |
| Scholarly communication | 0.019 | 0.012 |
| Open science | 0.003 | 0.022 |
| Research integrity | 0.005 | 0.013 |
| Insufficient payload (model declined to judge) | 0.004 | 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".