All Aboard the <i>Nascopie</i>: Image-Making, Colonial Modernity, and Coastal Memory in the Canadian Eastern Arctic
Bibliographic record
Abstract
Between 1912 and 1947, when it sank, the icebreaker the RMS Nascopie, a British-made vessel commissioned by the HBC to be used as a supply ship, serviced the eastern Canadian Arctic. For an eight-year period during this time it also counted tourists among its passengers, alongside HBC personnel, missionaries, medical practitioners, scientists, and government officials. Life aboard the ship, wildlife, sea ice, inclement weather, and Inuit were all documented in the reports, written diaries, and visual records that emanated from the Nascopie as it operated under the many, often contradictory, guises of icebreaker, supply vessel, cruise ship, and sovereign symbol. Looking across photography, painting, and printmaking during the 1930s through to the present day, I consider the Nascopie as an anchor between the visual arts and the coastal landscape. Here, I position Inuit and non-Inuit perceptions of cultural and environmental change and continuity along Canada’s coastline within the transformative effect of colonial modernity. Image-making, notably photography and painting, aboard the Nascopie sought to reproduce the Canadian Arctic as an object of collective history and national identity. Confronting the often-anonymous Inuit and Arctic environments throughout the photography and painting of Lorene Squire and F.H. Varley, I identify how the Nascopie, as a colonial actor in the local landscape, persists in contemporary Inuit visual and cultural memory, most notably in the work of Shuvinai Ashoona. By untangling the inter-media and multi-temporal role of the Nascopie across past and present image cultures, I explore the intertwined narratives of coastal history, visual culture, and colonial modernity in the eastern Canadian Arctic.
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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 | 0.001 | 0.002 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.002 | 0.002 |
| Science and technology studies | 0.024 | 0.017 |
| Scholarly communication | 0.009 | 0.002 |
| Open science | 0.001 | 0.003 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.006 | 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 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".