Interventions on the Blaskets: The Photographic Documentation of Françoise Sullivan’s Irish Performances
Bibliographic record
Abstract
In 1978, the Québécoise artist Françoise Sullivan went to the Blasket Islands and made a series of performances for the camera. Sullivan (1923– ) is relatively unknown outside of her native Québec and Canada, but in an exceptionally long and experimental career, she has made work as a painter, dancer, sculptor, performance artist and conceptual artist. This article focuses on the photographs of Sullivan's performances on the Blaskets and the broader, complex relationship between photography and performance itself. I trace the archival presences of these photographs, which documented Sullivan's interventions in abandoned cottages on Great Blasket Island, as reproductions in catalogues and monographs since 1981. I argue for the historical, material and affective dimensions of these images, foregrounding the complex and distributed dynamics of affect that circulate around and through the photograph. The malleability of the performance photograph, as document and documentation, along with its archival potential to be repositioned or remediated in the future, is fundamental to this account. I compare the still and the moving image representations of Sullivan's Blasket performances by incorporating analysis of her 8mm film, Dégringolade, in order to produce a more expansive, multi-modal reading of what I understand her to be proposing with this Irish project. What brought Sullivan to the Blaskets, a site with deep resonance in Irish cultural memory and a hold on the imaginary of Irish and non-Irish artists alike? And how can an affective reading of Sullivan's performances and photographic documentation in the context of transhistoricism expand such concerns?
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 | 0.001 | 0.003 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.010 | 0.009 |
| Scholarly communication | 0.004 | 0.001 |
| Open science | 0.001 | 0.002 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.009 | 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".