Bibliographic record
Abstract
The artwork in this visual essay has been inspired by the late social justice activist and artist Colin Robinson and his love of carnival. Robinson’s activist work with CAISO and his queer Caribbean liberation practices allowed me to directly draw on my experience as a Caribbean diasporic lesbian for the creation of the artwork presented here. Most of these pieces can be seen in New York at the Leslie-Lohman Museum of Art’s The Plural of He exhibition, curated by Andil Gosine, which runs 15 March–21 July 2024.Oui Matis (fig. 1): This painting is intended to create an imaginary space that positions queerness in relation to Caribbean folktales, Canadian culture, and mas’ making.The Great Bernadine, Royal Cobo of the Caribbean (Royal B / Royal Cobo) (fig. 2): The Royal Cobo depicted here is a diasporic mashup of the King Corbeaux and the Midnight Robber carnival costumes and ice hockey.The video Busshead Hardhead (figs. 3–6): Busshead Hardhead is a visual poem reflecting on the title of Robinson’s last book of poetry, You Have You Father Hard Head. It is a split-screen video (2:55 min), with the left side showing the feet of a beach walker, restlessly moving back and forth, the right side showing the movements of the Great Bernadine, Royal Cobo of the Caribbean. The text on the screen expresses the thoughts and emotions of the characters in the video.The wax story blocks (figs. 7–10): The story blocks are inspired by Robinson’s poem “The Plural of Me.” In this poem he makes a funeral wish for his cremains to be gifted to his friends, family, and lovers in wedding cake–like mini boxes. The story blocks I have created are similar boxes gifting the stories and narratives of the Middle Passage, Caribbean folktales, and Trinidad’s and Suriname’s queer histories. These pieces are made with watercolor and stone paper, shells, beads, wires, paillettes, lino print, and encaustic wax.
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 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 | 0.000 | 0.001 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.000 |
| Science and technology studies | 0.004 | 0.001 |
| Scholarly communication | 0.003 | 0.002 |
| Open science | 0.001 | 0.003 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.469 | 0.118 |
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".