Bibliographic record
Abstract
Between 1587 and 1589, Netherlandish artist Jan van der Straet engraved a series of plates entitled New Inventions of Modern Times. One, Allegory of America, portrays an Indigenous woman in a feathered headdress and skirt eagerly welcoming Florentine explorer Amerigo Vespucci as he steps onto land. Van der Straet’s work occupies space in a long history of male European artistic depictions of Indigenous women, but the white colonial gaze evident in Allegory has not gone unchallenged. In 2007, Rebecca Belmore (Anishinaabe) responded to transhistorical violence against Indigenous women and girls with a billboard instalment entitled Fringe. Although originally displayed as a direct response to the Pickton murders in Vancouver, Fringe transcends a single event or story. Belmore’s billboard reimagines controlling images that construct Indigenous women as sexually available conquests. She strips the image of the icons that artists have used to represent Indigenous women. By placing the billboard in a crowded metropolitan area, Belmore forces the viewer to confront the still-present reality of Indigeneity alongside the concomitant brutality of settler colonialism. Belmore’s art functions on multiple levels to convey a sense of survivance in the face of systemic attempted genocide. Fringe is a fully realised, modern, and powerful piece of art activism that transforms visual culture. In this paper, I analyse the transhistorical effects of art as a tool of colonisation, as seen in van der Straet’s work. I then theorise Fringe as a vibrant piece of art activism (artivism) that subverts the white male colonial gaze.
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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 | 0.004 | 0.004 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.003 | 0.001 |
| Science and technology studies | 0.037 | 0.030 |
| Scholarly communication | 0.011 | 0.005 |
| Open science | 0.002 | 0.010 |
| Research integrity | 0.004 | 0.006 |
| Insufficient payload (model declined to judge) | 0.012 | 0.001 |
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".