Bibliographic record
Abstract
In contemporary performance-based visual arts, ritual practice holds a significant position for the analysis of both individual and social realms.We may also observe that food and sex are often utilized to provoke thought in relation to these realms and that, being commonly involved implicitly or explicitly in the everyday, are highly coded, complexly intertwined, and usually put into play within ritualistic modes of operation.Furthermore, food and sex imply transgression of one's body and/or another's.As a visual synthesis and confirmation of the above statements, one may recall Linda Nochlin's photograph entitled Buy My Bananas (1972), which offers a feminist critique of an ad entitled Buy My Apples (from the late XIX century).The original photograph depicts a nude woman standing while awkwardly holding a tray of apples onto which are also resting her breasts.Nochlin' s piece, on the other hand, shows a nude man holding a tray of bananas at the level of his penis.The artwork, though at first sight possibly comical but surely parodic, serves to reevaluate the way in which a patriarchal western culture depicts women, but also underlines the associations between food, sex, consumption, and the performance of genders.Moreover, we may notice a certain conflation: the body as edible and food as "sexable".As I am first and foremost a visual artist dealing with food and sex through performance and sculpture, I intend to present some of my own work along with that of select contemporary practitioners in the field.I will then be able to give an individual as well as a broader sociocultural account of performance-based practices in contemporary visual arts in which food and sex are explored through ritualistic methodologies.In addition to my own work, I will discuss that of Carolee Schneemann, Vito Acconci, Mona Hatoum and Paul McCarthy.If we can loosely understand the ritual as a deliberate physical action occurring on a regular basis according to a prescribed order, it is not an irrational leap to suggest that, when considering a single artist and one of
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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 | 0.004 | 0.002 |
| 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 | 0.001 | 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 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".