Bibliographic record
Abstract
M y interest in the lives of artists grew, as I did, in the countryside just outside the tiny village of Blair, on the Grand River in Waterloo County, Ontario.Memory layers scenes and seasons, saturating them with music and art.Most days seem still, configured by the sound of my mother's piano.Yet often enough the atmosphere was convivial, filled with the harmonies of musicians at play; fervent conversations, stretching days far into the night, were swallowed by the hills or by dawn.To maintain a certain decorum, as I recall, religion and politics were avoided topics, but life and art were ready surrogates and argument a common pleasure.John Martin was my champion contender.He and Carl Schaefer taught at the Ontario College of Art in Toronto and, in the summers of my adolescence, came to teach up river at the Doon School of Fine Arts.They both became family friends and through them I caught a glimpse of the larger world of art in Canada.Mostly, though, there were music and musicians.Active throughout the region, many played in the Kitchener-Waterloo Symphony or sang with the Preston Operatic Society; a few jazz musicians moonlighted with the dance band at Leisure Lodge.Others were church soloists (including my grandfather, John Wildman, who had a fine tenor voice) and a few, active on farther, perhaps grander stages, were sojourners.Maria Tippett's description of the place of the arts in English Canadian communities at mid-century, in Making Culture, rings true for me.Making and attending to the arts were critical activities; meaning lay in or beyond or through art.How radically artists who knew modernism conditioned my own views has become clear working through the matters of this book.Emily Carr's words and images, the details of her life and the words of those she in turn has stirred, bring my early world to mind.My principal questions were shaped there.The midnight voice of John Martin remains quintessential, as do his enthusiasms and the sweet agonies of his life-sweet because his art and religion Xlll
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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 | 0.003 | 0.010 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.001 | 0.001 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.003 | 0.001 |
| Scholarly communication | 0.004 | 0.002 |
| Open science | 0.002 | 0.005 |
| Research integrity | 0.002 | 0.003 |
| Insufficient payload (model declined to judge) | 0.419 | 0.226 |
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; the direct Gemma label and the distilled Codex classifier 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".