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Record W4319288241 · doi:10.1353/ajh.2022.0029

Experience Leonard Cohen

2022· article· en· W4319288241 on OpenAlexaboutno aff
Oren Kroll-Zeldin

Bibliographic record

VenueAmerican Jewish history · 2022
Typearticle
Languageen
FieldSocial Sciences
TopicJewish and Middle Eastern Studies
Canadian institutionsnot available
Fundersnot available
KeywordsJudaismPrayerConversationJewish studiesInterpretation (philosophy)Art historyExhibitionJewish identityIdentity (music)ArtSociologyReligious studiesHistoryVisual artsAestheticsArchaeologyPhilosophy

Abstract

fetched live from OpenAlex

Reviewed by: Experience Leonard Cohen Oren Kroll-Zeldin (bio) Experience Leonard CohenContemporary Jewish Museum, San Francisco, California 08 52021 01 22022 (Judy Chicago and George Fok exhibits) 08 52021 02 132022 (Candice Breitz and Marshall Trammell exhibits) https://www.thecjm.org/exhibitions/116 I use music as a teaching tool in my classes. In an undergraduate introduction to Judaism course that I teach at the University of San Francisco, I play music at the beginning of class, followed by a conversation about its religious and cultural relevance to our class. At the end of the discussion, I ask students to debate whether or not they think what we listened to is an example of "Jewish music." Leonard Cohen features heavily in the rotation of songs I use for this class, as his influence in our classroom discussions mirrors his significance to popular and Jewish culture writ large. For example, during the week of Rosh Hashanah, we listen to Cohen's "Who by Fire," his interpretation of the Unetanneh Tokef piyyutsung in synagogues around the world during the High Holy Days. This song artfully reimagines the prayer Cohen heard as a child at Congregation Shaar Hashomayim in Westmount, Quebec, the Montreal suburb where he grew up. During another class, we listen to a Ladino version of Cohen's "Hallelujah" recorded by Yasmin Levy, a Sephardic Israeli singer. Because Cohen features so prominently in our conversations on Jewish identity, I was thrilled to discover that the Experience Leonard Cohenexhibition was on display at the Contemporary Jewish Museum (CJM) in San Francisco from August 2021 thru February 2022. I did not encourage my students to visit due to the semester surge in COVID cases. After my own recent visit, I am glad about that decision, not because the exhibition is unengaging, but because the students would not have learned anything about Cohen himself from the visit. Instead, they would have learned about artists inspired by Cohen's life and music in an exhibition that is too esoteric for most undergraduates who do not study art. Experience Leonard Cohendraws on Leonard Cohen: A Crack in Everything, organized by the Musée d'art contemporain de Montréal (MAC). The San Francisco version consists of four solo exhibits inspired by the life and work of Leonard Cohen, created by contemporary artists [End Page 223]George Fok, Judy Chicago, Candice Breitz, and Marshall Trammell. Each exhibition is meant to stand alone, and each was located in a different gallery of the CJM, spread over two floors. Together the exhibits form a visual and auditory collage of the four artists' representations of Cohen's work through paintings, recorded audio performances, and video presentations. By showing Cohen's career through the eyes of contemporary artists and their multimodal expressions, these artists take us beyond the image of Cohen as a larger-than-life musical hero to show him as a person who had an immense impact on others. Chicago's Cohaniminstallation includes thirteen paintings that interpret the lyrics of Cohen songs. These paintings, and Chicago's desire to create the art after learning of Cohen's death in 2016, exemplify how much he meant to her as an artist. According to the installation, Cohen's music was a constant presence in Chicago's art studio; she frequently listened to it as she worked. Trammel, an Oakland-based experimental artist, titled his exhibit Indexical Moment/um: For Friends. It consists of audio recordings of lyrics from Cohen's songs that repeat until they vanish into the room's natural soundscape. The one thing I appreciated about the piece is that it includes songs by Conspiracy of Beards, a Bay Area a cappella group that performs exclusively music written by Leonard Cohen, thereby adding a local San Francisco component to the Canadian artist's career. The two most engaging parts of Experience Leonard Cohen, and the most popular on the day of my visit, are the two video installations created by Breitz and Fok. Breitz's I'm Your Mandecenters Cohen the artist and includes the voices of eighteen old men singing a cappella versions of Cohen's songs from...

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 imitation

Not 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.

metaresearch head score (Codex)0.001
metaresearch head score (Gemma)0.005
Version: metacan-v3-hybrid-931329e0061cValidation status: machine_predicted_unvalidated
Candidate categoriesnone
Consensus categoriesnone
DomainCandidate signal: none · Consensus signal: none
Study designCandidate signal: Not applicable · Consensus signal: Not applicable
GenreCandidate signal: Other · Consensus signal: Other
Teacher disagreement score0.102
Threshold uncertainty score0.341

Distilled classifier scores by category (both heads)

CategoryCodexGemma
Metaresearch0.0010.005
Meta-epidemiology (narrow)0.0010.000
Meta-epidemiology (broad)0.0000.000
Bibliometrics0.0010.000
Science and technology studies0.0040.002
Scholarly communication0.0040.004
Open science0.0010.006
Research integrity0.0020.005
Insufficient payload (model declined to judge)0.1020.023

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.

Opus teacher head0.032
GPT teacher head0.275
Teacher spread0.243 · how far apart the two teachers sit on this one work
Validation statusscore_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from it

Classification

machine, unvalidated

Machine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.

The models applied no category: nothing in the taxonomy fit this work.
Study designNot applicable
Domainnot available
GenreOther

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".

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Citations1
Published2022
Admission routes1
Has abstractyes

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