Bibliographic record
Abstract
Background: In her essay ‘News That Stays News’ (2011), poet and scholar Cole Swensen states that ‘poetry—amid all its ambiguity and ornamentation—is not only perfectly capable of conveying truth; it can also attain a unique relationship to truth because it implicitly acknowledges and interrogates the limitations of language’ (58). Documentary poetry brings, according to Swensen, ‘language as art into the heart of the language of information’ (55). This folio of poems continues my ongoing contributions to the field of documentary poetry by offering eight new poems that explore how poetry can process documentary facts and material in new ways. Contribution: Each poem in this folio responds to and processes documentary materials, finding artistic stimulus in, for example, the biographical, archival objects and oral histories relating to late Australian artist Mirka Mora; the film narrative relating Frank Morris’ historical escape with two inmates from Alcatraz; historical texts detailing the bird-rearing business of Robert Stroud (the Birdman of Alcatraz); and the immediate, everyday observation of the natural world outside my window. Tools of poetry craft are deployed—metaphor, visual play, enjambment, repetition, doubling and onomatopoeia—in order to collide the language of art with the language of information. Significance: ‘On the Writing of a Feminist Poem’ was shortlisted for the 2022 Montreal International Poetry Prize and subsequently published in the prize anthology. ‘Scissors & Clamps’ was competitively selected for publication in Meanjin. Three poems were commissioned by Red Room Poetry for publication as a consequence of my being shortlisted for the 2022 Red Room Poetry Fellowship; one was subsequently picked up for publication in Best of Australian Poems 2022.
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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 | 0.003 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.005 | 0.005 |
| Scholarly communication | 0.004 | 0.003 |
| Open science | 0.000 | 0.002 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.027 | 0.007 |
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".