Bibliographic record
Abstract
Frakcija No. 55 , 2010: At Least One-Third of the Subject We as artists usually receive invitations from abroad (or locally) to present our work there (or here) by way of individuals who represent organizations or artistic and cultural institutions or who do not represent anyone but themselves. They come to us, they contact us, they meet with us, and they leave . . . what are they looking for? I have no idea. Maybe for something new, something different, alternative, a new language, new blood . . . Or rather, to create some ideas, to pose some questions related to certain problems such as the artist's relationship to power, or similar. I have no idea. Maybe they are on the lookout for new commodities for their respective markets, or for an Orient they have heard so much about, an Orient they have missed greatly, or . . . I really have no idea. My belief is that they all have their own motivations and purposes. Each one of them has his or her own reasons, desires, and objectives. Really, I have no idea. Frakcija No. 55 , 2010: Never Explain Marta Keil: We are invited to revisit your text, “At Least One-Third of the Subject,” which was published thirteen years ago and has become kind of a classic since. I have to confess: I come back to it regularly with my students to discuss the figure that you drew of the artist's bittersweet innocence. Is this figure still recognizable to you today? Configurations in Motion: Performance Curation and Communities of Colour (1–2 June 2017): Preview to an Introduction I met with Thomas F. DeFrantz and Seika Boye in early 2023 to talk about Configurations in Motion: Performance Curation and Communities of Color—the gatherings, booklets, and the curatorial work—to ask how and if the work remains necessary. To think this through, we looked back at the 2017 conversation and the question posed about how we might cultivate a livable future. This brief essay is part of what resulted. Configurations in Motion: Performance Curation and Communities of Colour (1–2 June 2017): By Way of Introduction As curators of the third iteration of Configurations in Motion: Performance Curation and Communities of Colour in Montréal at Concordia University, in Québec, Canada, from 1 to 2 June 2017, we decided to begin with a few questions to set a frame for the essays that follow in this booklet of conference presentations. Here are our reflections.
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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 | 0.000 | 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) | 0.002 | 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 itClassification
machine, unvalidatedMachine predicted; both teacher heads agree on what is shown here.
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".