Bibliographic record
Abstract
The Haunted InkbottleJames Joyce and the Art of Robert Amos Robert Amos (bio) Click for larger view View full resolution "No, so holp me Petault, it is not a miseffectual whyacinthinous riot of blots and blurs and bars and balls and hoops and wriggles and juxtaposed jottings linked by spurts of speed: it only looks as like it as damn it; and, sure, we ought really to rest thankful that at this deleteful hour of dungflies dawning we have even a written on with dried ink scrap of paper at all to show for ourselves, tare it or leaf it" (FW 118). The James Joyce Quarterly has kindly allowed me space to introduce my "written on with dried ink scrap of paper." I am an artist and author who lives in Victoria, British Columbia, a little city on a rather large island off the West Coast of Canada. I discovered James Joyce in 1970, but it was many years before I began to make sense of Ulysses. Later, discovering that silent reading of Finnegans Wake brought only confusion and frustration, I spent six years making an audio recording of the book. Four hours of my complete version have been posted at Derek Pyle's <waywordsandmeansigns.com>. To better understand the text I was reading, as I proceeded I wrote out the Wake in its entirety—in my "short lines" format—with a fountain pen. While this was going on, I began to incorporate selections of Joyce's words into my art practice. Some of the results can be seen on the following pages. More of my art works in many media can be found at robertamos.com. [End Page 175] Click for larger view View full resolution For many years I have drawn inspiration from Chinese and Japanese art. I learned that words written using a brush and ink are a form of expression which at once reveals the power of the text and the character of the person who wrote it. This form of calligraphy proved to be a wonderful way for me to get close to Joyce. As he said, "who in hallhagal wrote the durn thing anyhow?" (FW 107). [End Page 176] Click for larger view View full resolution As part of my painting practice, I am always on the lookout for subject matter, and my literary studies offer a rich vein of material. I was inspired to try to breathe life into the photos of Joyce and his family by making portraits of them using acrylic paint on mahogany plywood panels. It seemed to me, as I considered every aspect of Joyce's appearance, that he was speaking to me. So I included some of his words in my pictures. In this painting, the last words of Finnegans Wake merge with the first words and flow through Joyce's brain—in one ear and out the other. [End Page 177] Click for larger view View full resolution "How bootifull and how truetowife of her" (FW 111) Joyce's wife Nora didn't have much to say about literature, but she certainly had a place in everything her husband wrote. Her penetrating look gave me a lot to think about. This painting, which is twelve by sixteen inches, has been described by a thoughful observer as showing "a pensive, world-weary Nora." [End Page 178] Click for larger view View full resolution I have always felt that my ink paintings and the inscriptions which I have written on Chinese paper should not be framed behind glass but mounted as hanging scrolls. Fortunately friends in China and Taiwan came to my assistance, and one hundred of these paintings were mounted there in the traditional manner using silk with rosewood rollers. The scrolls are easy to store in their rolled-up form, and, in many cases, this format has lent itself to the longer inscriptions from Finnegans Wake which I'm fond of copying. [End Page 179] Click for larger view View full resolution The folded book is another Chinese format I have used, and it is appropriate for longer quotations. The book has a cinematic sense which leads the reader onward from one page to the next...
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 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.001 | 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) | 0.002 | 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 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".