Classification
machine, unvalidatedMachine predicted; a candidate call from one teacher head, 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".
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
The Perez Art Museum of Miami (PAMM) opened to the public in December with two inaugural shows.One is Ai Wei Wei's expansive "According to What?" which features pieces slightly the worse for wear after a blockbuster 2012-13 North American tour (the 3,000 piled ceramic river crabs that make up He Xie are a short a few legs since I saw them in Toronto in August).The other is "The Craft of Modernity," a solo show of paintings and ceramics by twentieth century Cuban artist Amelia Peláez.It features both important, beautiful art, and curation gone horribly wrong.But before I get to that, let me say that almost everything else about PAMM is so right.Its Herzog and de Meuron-designed building is both innovative and inviting, a set of textured wood and concrete planes perched on the edge of Biscayne Bay.The new museum is eager to introduce American visitors to the art of Latin America and the Caribbean.Its fledgling permanent collection includes a few stray (though lovely) works by Rauschenberg, Johns, and Lichtenstein, but its real heft is in gallery after gallery of work by artists from Argentina, Chile, Brazil, Mexico, and of course, Cuba.For museumgoers whose working knowledge of art has been formed in the collections of the MOMA or National Gallery, the Perez offers an entry point into traditions that are only starting to find their rightful places in the American public's understanding of modern and contemporary art.Uninitiated visitors find themselves leaving with scraps of paper scribbled with the names of newly discovered favorites to go home and Google:
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 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 | 0.001 | 0.001 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.001 | 0.001 |
| Scholarly communication | 0.000 | 0.000 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.000 | 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 it