Bibliographic record
Abstract
CONSCRIPTING CANADIAN LANDSCAPE" was the first working title for this book, "Reinventing Canadian Landscape" the second.Neither was quite right for what we were trying to do, which led us to a third title: Beyond Wilderness.It stuck.The title was explicit about the dominant theme of the book, which argues that the wilderness painting movement formed by the Group of Seven early in the twentieth century was challenged in the 1960s by a post-wilderness movement concentrating on social and political relations.The theme proved timely and generated a critically informed response when the book appeared in 2007.In a review, Daniel Francis remarked that the Group's paintings functioned like "national wallpaper," even though their vision was "an inadequate way to describe an urban, multiracial, industrial society like Canada." 1 Jerry Zaslove's observations were darker."The landscape as nation-making story has been extracted from the remains of wilderness," he wrote in reference to Joseph Conrad's novel Heart of Darkness, in which the "deathly presence of capital and unpopulated localities are left upstream." 2 While working on Beyond Wilderness, we recognized the book might do little to disturb the deep-seated connections between the Group of Seven and Canadian identity.We were not wrong.In the decade since the book's publication, the Group and those associated with it have played an increasingly significant role as international ambassadors for Canada in heavily publicized exhibitions abroad.In London, the Dulwich Picture Gallery mounted Painting Canada: Tom Thomson and the Group of Seven in 2011 and From the Forest to the Sea: Emily Carr in British Columbia in 2014.In Los Angeles, Lawren Harris flirted with celebrity in a city of celebrities when comedian Steve Martin organized an exhibition of his paintings for the Hammer Museum in 2015.Martin described Harris's work as "awesome" (Martin's emphasis)."Over the past twenty years or so," he continued, "I've had a couple of infatuations, several sighing
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 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 | 0.001 | 0.002 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.002 |
| Science and technology studies | 0.016 | 0.008 |
| Scholarly communication | 0.011 | 0.006 |
| Open science | 0.001 | 0.004 |
| Research integrity | 0.002 | 0.004 |
| Insufficient payload (model declined to judge) | 0.061 | 0.008 |
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".